When you write the script, you're home in a room by yourself, and you're writing, and there's no connection with the real performing world. So you get a lot of things wrong and make a lot of mistakes and make a lot of bad choices.
I have pictures from work that I'm sending to my family. I send them scripts that I'm working on so they can be excited and know what's up with me.
I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.
I wanna do a movie! Anything that I connect with, really. I read scripts, I've taken some acting lessons, and I feel like that's definitely my next goal.
Directing, to me, starts even before we get to the set. Directing is a fluid, an abstract thing. It's not done only purely in the moment. It's an idea that you plant before. It's a location that you show. It's something I whisper in someone's ear. It's a freeform thing. It only takes me a week to write the script, but it's years that you're thinking about it. The execution is really the fast part.
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.
To sit down at a computer every day and write a script is commendable. I don't have the patience for it, but I have some fantastic ideas.
If you have a good script, that's what gets you involved. It's harder to write a good screenplay than to find something.
When you play a character it's the persona you bring across from a book to film, or book to script to film. If I play Frank Sinatra, there's gonna be things I do in a movie that Frank might not have done, but it's the personality that comes across.
When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories.
I practice reading all the time. I read everything and having so many scripts to read, which really helps out as well.
You stick to the script, the script is Bible.
Inspired music arises from an inspired movie which arises from an inspired script.
I've auctioned off many scripts and will continue to do so for good causes.
What is the right time [to discuss theology]? Whenever we are free from the mire and noise without, and our commanding faculty is not confused by illusory, wandering images, leading us, as it were, to mix fine script with ugly scrawling, or sweet-smelling scent with slime. We need actually 'to be still' (Ps. 46:10) in order to know God, and when we receive the opportunity, 'to judge uprightly' (Ps. 75:2) in theology.
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
You have the capacity to change the plotline of your life, even if you've been acting from the same script since before you can remember.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.
I'm not staying away from any genre. I'm trying to get scripts that I like.
When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel.
The Lord Chamberlin was censoring scripts when I first came into the theater.
A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.
I think every script I read has something that sends me into a state of panic but that usually makes me want to do it.
Being on TV sucks. It's a lot of work. You memorize scripts and then you show up and they change everything. I'm a control freak. When I'm doing stand-up, I say what I want and then I get instant feedback.
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