I'm an unashamed realist, and actually, I try to make whatever the script is the reality of that situation, even though it's fictional.
As an actor, you very rarely have the experience of picking up a script and getting a few pages into it and realizing that what you're holding in your hands is not just a role on a TV show, but it's one of those special parts that comes along, once or twice in a career. If you're lucky, you get an opportunity to do something really memorable and to be part of one of those rare shows that passes into that special category.
I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.
I never say never, but I haven't been given the quality of script to compel me to go on television.
I tend not to read the size of the production into a script when I'm reading it. It's just something you respond to or not and I do think it's very dangerous to say it's time now to do this or it's time now to do that.
I'm not a big fan of training, at all. I really don't like it. I've done a few acting classes and I've just hated them. I think they train you to do something, and sometimes you might not be able to break out of it. Acting is lying, and lying is acting. So, I just prefer to read the script and do it my own way.
The class warfare was in the script as well. It establishes what the world is like and what would happen if we really had two zones that were left and everybody had to survive using these two areas. What would our society to do with that set up? I wanted the state of world, in my mind, how it would actually realistically unfold. I drew that from what was in the script.
For the last episode [of Downton Abbey], you'll need some handkerchiefs. I needed handkerchiefs reading it. It wasn't because it necessarily moved me while reading it, but it was the experience of reading it when I realized it was the last time I was ever going to be reading one of those scripts. That was quite terminal.
Every film starts with the script.
Jackson doesn't bother to read the scripts anymore. He just checks to make sure he has one loud scene where he gets to shout, then cashes the paycheck.
In writing scripts now, having made a film, I'm much more conscious of what it means to shoot and edit a movie, and that affects the writing.
Mine is studying script and being very academic and trying to be important.
He comes back with the script, and it's racist like a 1940's Newspaper.
I wake up to an email from the writers with the new script, and I always get so excited because I know it'll be better all-around than the script from the week before.
I'll only work on TV shows that have a 'Sookie' on them! Those are the only shows that will cast me. And I've never even met a Sookie in my life. Sookie on 'Gilmore Girls' was played by Melissa McCarthy. And Sookie, played by Anna Paquin, is number one on the call sheet on 'True Blood.' Somebody should write another script with a Sookie in it.
I had a hard time on TV, the last time on television, so I wasn't sure that I wanted to do that again. But, I really am a big fan of Jenji and I knew this is her next thing, so I read it. And once I read the script, I was really, really impressed that there was a woman who was the centerpiece of her own story, and that she was in the center of her own narrative.
I cling to the fantasy that I could have done something more creative. Like actually writing a script, or writing a book. But the awful truth is that I... probably can't!
I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.
I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.
What is your Primary Aim? Where is the script to make your dreams come true?
I think the beauty of documentary work is that it's a mystery - you never know where it's going to lead you. You start out with some notion of it, but it's very different from a script. A script you write, you shoot against, and you know what the story is going to be. There's always the element of surprise, but the surprise comes from performance, from something that's improvised, it comes from someone who sees it inside an already determined framework. In documentary, it's never determined. It's never the same, and affords enormous possibility.
Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.
I don't think there's anything that I would really baulk at doing on-screen. I don't think so. I've got certain pet peeves about writing... my pet peeve about reading scripts is when they give you a line reading and there'll be a line but next to your character's name it'll say 'very angry'. But I'm like: "Well, I'll decide that actually!" So, there's little things like that. That's a slight pet peeve.
In fact you can begin to discover and investigate whether you are an actor or not, whether you're in my view, qualified for a life in this profession or in this endeavor by checking yourself out and acting every day, getting plays and scripts and getting together with people and divvying up the parts and acting in one way or another, or writing things.
Yeah I was aware of the book, but hadn't read it. So as soon as I'd finished the script, I got a copy of the book and read that. My wife had read it and she loves it, so that was a good sounding board. I like her writing style, she's such a page-turner. I enjoyed The Constant Princess as well. I think she's great. The books are very popular with women and I can see why.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: