I got some pilot scripts and auditioned for a couple other ones, too. It was just a standard audition, where I kept going in to read and went up the ladder, in terms of people who you're performing for during those auditions. Each step of the way, I was happy with that level of audition.
I just felt like, you know, I read a lot of scripts out in L.A., out here in the industry and I just felt like this film was just being genuine. I just felt like it had really great characters. And all the three different characters have completely different stories and they're all kind of intertwined together thematically. So I just thought it had great characters, great themes
When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie.
When preparing for the fight choreography, the first thing I have to think about is what fits in the script. Whatever goes along with the story line and the character's personality; they have to be matched.
I want to do something where the script is there. That doesn't mean that I won't need to come in, or be asked to come in, and help develop something. Things can always get better. There's always room for improvement. But, I want to do something that's the best version of whatever it's supposed to be.
When you are filming, you have to let the thing really open so you can bring more life and details into it and even look for some kind of imperfection. It's good to have a good script but then you must make a mess out of it, I think.
Usually you read a script and you know somebody who knows somebody who maybe knew that person or met them once.
What made me want to be on it was reading a really good script, and being compelled by and attracted to the characters. I really loved Maura Isles, who was very fascinating to me.
I remember like that scene with Pharrell where they're at the music video shoot, we have this on camera actually, Pharrell's confused because we weren't doing the script. We were doing all this improv and then Diddy says to him... Pharrell's like I don't understand what's going on and Diddy goes, "We do a lot of improv". (laughter) I remember being we just made him into a comedy nerd. We somehow turned Sean Combs into a comedy nerd, so.
Maybe I'm just not that humble but our script is awesome. Like Jason is so into the Muppets and such a fan. I'm such a fan of Muppets.
I think the script's actually pretty solid. It really is a labor of love for us to get this thing off the ground. It was scary but then there was the change in leadership and I think that the new guy in charge is basically like, "We should just do this."
It won't be that expensive, the script is fun, the guys just love this thing, and with all of that, the world is just ready for the Muppets again. It's strange that there hasn't been one for so long. I think there were a lot of political reasons for why that was the case but it's just exciting that now it's going to happen.
The amount of work that TV writers and executives do is incredibly hard. I'm shocked that these people will hand in three outlines and two scripts, and everybody has to read them and give notes on all of them, even the writers.
I was meeting a lot of directors and reading scripts, and I was like, "Well, I'd love to play this part," but I couldn't.
Anyone who's really utilized collaboration has a philosophy like, 'Let's throw it all against the wall and see what sticks.' That's how we do it. At a certain point, we're cutting scripts that we love.
I've got a big closet of scripts, and a big stack of scripts on the side of my desk, because you get a whole bunch. Nothing's going to be perfect, and I realize that; but I am a perfectionist, so you go through a lot of stuff.
I was trying so hard. I would memorize the entire script, then I'd be lipping everybody's lines while they were talking. When I watch those episodes, it's disgusting. My performances were horrible.
He's a very funny and very nice man. When you read the script, you want to stick with it. But when you're with Eddie Murphy you've got to improvise. He's always making jokes and making me crack up when the camera's on.
You know, the fact that every morning you get a script in your mailbox, that's going to stop. All these little pedestrian, mundane things. And the cash.
The better the script, the less money there is. That's just the economics of the studio system.
I'm a little older and fatter now, and I'm not exercising as much. My lifestyle these days involves a lot of beer and pasta. But there's something satisfying in letting your body go to hell. So maybe I won't get offered the same kind of role as before. So what? I'm happy to play the guy in his mid-30s who may be a little unhealthy. "Fat and arrogant" is what I'm bringing to the script.
I remember the first sale I made was a hundred and fifty dollars for a radio script, and, as poor as I was, I didn't cash the check for three months. I kept showing it to people.
Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.
If the producer doesn't like you, consequently he reads the script with a very negative view. But I wouldn't preoccupy myself with that, I don't give a damn. You can be a hunchback and a dwarf and whatall.
My main source of reading is scripts, which doesn't leave a whole lot of room for books.
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