Living here in California, I think one of the scariest things about California is the fact that it is rewriting its script and changing constantly and so many people don't know who they will be and who they will be with a year from now.
I think being on a show like Game of Thrones for six years, I've gone through that whole hype thing, and I know that it doesn't do you any good creatively. You've just got to stay focused on the character and the script and your work. As humble and as grateful as I am for so many people watching it, and that there's so much love and attention, it's best for my own sanity and creativeness to try and keep that at bay.
There are some filmmakers like the Coen brothers that are very precise. They make shooting boards, they do it shot by shot, and they follow every single line in their own script. They make amazing movies, and I admire them so much, but I can't do that. I have no idea how the movie will exactly be. While shooting, I just try to create an accident that I don't control very well - grabbing things from different sources and ideas, and then having a sensation somewhere that it will make sense.
I don't think comedy is something you learn. I think it's something that's either there or it's not. When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.
I loved Married With Children. That was the job that against all odds - you know, when I first read the script, I thought, "No one will ever watch this, but I think this is so fun." So I was really happy to be involved in it. And we laughed every single day. It was the funniest 11 years. We really, really enjoyed it.
I'm always looking for something very different from anything I've done. I'm attracted to a great script, and not necessarily a great character.
You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about.
It's fun when the writers start writing jokes to you, but also it's fun when the writers will come to you and say 'Hey, listen, we're working on this story and we need to know if you speak any foreign languages.' And I said 'No, I don't. I speak a little Spanish, but I can learn a foreign language.' And they go 'Okay, do you think you can learn Portuguese?' And I go 'Yeah, whatever it takes. If it's funny, I'll do it.' So of course I start looking online and learning Portuguese, and as it turns out, I get the script and it's now Serbian.
At times doc filmmaking feels more rewarding creatively. Because you are creating something out of pure cinema - instead of narrative cinema, where you've got a script and a cast and you build from your foundation, whereas in documentary, you're building out of chaos.
In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.
I was in an acting class taught by Eric Morris, and Jack Nicholson was in the class. He wrote the script for 'Head', so all of us in the class got little tiny parts in the movie.
Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?'
I'm an obsessive hiker and I do it every day for two hours and it really helps me when it comes to learning songs or scripts.
The thing I noticed about Jack was when we did a reading of the script, just to warm up.
I think when you're a bigger star you get many good scripts sent to you, and you have to choose which one you're going to gravitate toward, but I just try to gravitate toward the best-written one that's been thrown my way after a lot of girls have passed on it.
I felt, if I never did anything in my life but read scripts and synopsize them, I would be happy.
It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself.
Would you believe, I am still offered scripts and projects all the time?
I feel as though my career really hit its high point when I was cast as a supporting actress in 'American Wedding'. I thought the script had a lot of depth and intelligence, and it really just jumped off the page
Well, obviously, as soon as I'd finished the script I read a lot of books on Winston Churchill, and started to gain weight and really prepare emotionally, mentally and physically for the role.
Really I'm just an actor. The only difference between me and those cats in Hollywood is that I write my own script.
Frankly, as much as I love to improvise, it hasn't been difficult to stick to the script on 'Mad Men.' The writing is so precise, and the story so carefully crafted, that I don't think there's room - or need - for ad libbing. I could never come up with dialogue as lovely as these writers do, anyway.
Improv definitely made me a better auditioner, without a doubt. We did do an audition semester in grad school, and that was helpful for those times that you have a script and you have a few days to prepare it, to really work on sides. But the auditions I was doing in New York, if you got it the night before, you were very lucky.
The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
When I was working on Big Fan, I didnt really feel like any lines needed to be changed or enhanced or expanded upon in any way. I thought it was a solid script. All you had to do was what it said.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: