I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.
It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit.
I simply asked if I could have a go at adapting a screenplay. But I did not want any money, in case I failed because I did not want a script out there with my name on it that might be completely dysfunctional.
Nobody goes to a movie and watches the script. There is a lot of other stuff going on.
In so many roles I've played the outsider. As an outsider, you have more energy to succeed simply because you are an outsider. There are scripts floating around but they're not coming my way and I think that I am getting a little bit too old to play Napoleon. But if I was ever offered the role I would grab it.
When I wrote Chuky script, I was a student at UCLA, an undergraduate and my biggest aspiration for it was that I would get my foot in a door somewhere, that I would get an agent or something and it was just beyond my wildest dreams that this big-time producer, David Kirschner.
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
You have that Frank Capra kind of side to it and the characters are really well drawn, so I think everybody tried their best to stay faithful to the script.
Just play the moment, that's the fun of it. You just play the moment. It's great writing and very clever writing, I think it's witty. And I have those great clothes. You have a great, witty, intelligent script and you look like a million dollars, because we have a great costumer, and it's a pretty good place to begin.
It's really hard to find stuff that is original. You pick up scripts and in four pages you know where it's going and the same thing when you are sitting in a theatre, I just rejoice when something unfolds in a way that I'm not conducive.
I've done films where you have to get in shape for purely vanity reasons, when you read a script, turn to page 87 and it says: "Rips his shirt off and casually throws it onto chair" - and you're going to go to the gym the next day because nobody wants to see your big fat arse out there taking your shirt off!
It depends on the scripts and the character and just everybody involved, the other actors and directors. It's just a gut feeling when you find something, you're like, 'Yes, I want to sink my teeth into that.'
I would like to do a lot more of it, I feel comfortable with it and basically it's all in the writing. I'm not a personality type actor, I need a good script in order to be funny, but it's definitely something that I like doing.
Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.
I don't think about better. You just want it to work. You want it to work and you have your guide with the script. You want it to exist and complete.
It was a great circumstance when I received the script of [Chloe] and Atom [Egoyan] said he wanted me to do it. I was inclined to say 'yes' immediately.
The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?
It's not that I'm not a horror fan, it's just that the horror scripts I've been sent have been rubbish and obvious. Because they usually are in horror films - it's just about scare factor. You're always one step ahead, you know who's going to die first, you know who's going to survive, you're going to get a jump every twenty minutes.
I start casting early in the writing process, so I can tailor the script to the gifts of the actors.
What you believe one day isn't what you believe the next day and I think every writer secretly believes that they may never be able to do write good song or script again, but they can.
It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.
I'm wearing three hats; I'm acting, producing, and directing. I was very involved in developing the script, too. But to me, that is very liberating. To me, the lower the budget, the more I want to be involved. I want to be more in control of my own destiny when there isn't much money involved, because you don't have the experts who can control your destiny.
I ain't the first on the list that people are sending scripts to. I'm very lucky. I've managed to put myself in the position with some directors, who will be calling me directly, and we're working on things and talking about things, but that's on a purely creative level.
Sometimes I dream that I'm working; that's awful. When you awaken after a big, surprising dream, you feel it's very interesting. When you sit and write it down, you realize it's a very poor script. But I may find ideas while dozing.
I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.
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