If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script.
I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.
I've been fortunate. I don't pick scripts. Scripts pick me.
I've been fired from a situational comedy with a script they wrote specifically for me because of my voice.
Without being good enough, I started figuring out how to make my way through the minefield of a script, which is the rest is semi-history.
I am going to have to stick to the script. If I muck around with the words it will defeat the object.
I find it really hard to even read another script while shooting.
The reason I turn down 99% of a hundred, I mean a thousand, scripts is because romantic comedies are often very romantic but seldom very funny.
Hmm, limelight. . . No, I'm not Sienna Miller or Angelina Jolie. I'm very lucky and happy, but I still find it very difficult to get good scripts and good roles. It's really a jungle out there.
I was sent the script [of Havenhurst ], and I was out of town at the time, so I did a site meeting with Andrew [Erin]. It was so bizarre. I was staying in a hotel at the time, and the night before the meeting with Andrew, I learned there was a ghost in the hotel.
You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college. Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.
And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.
What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.
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.
I don't sit around and study the pages of a script over and over again.
It's an honour to have such a wonderful international cast on board for this world famous murder mystery. Writer Stewart Harcourt has created an exquisite script. His attention to detail is impeccable.
I write plays instinctively. I don't like writing movie scripts.
Usually the script is much more funny than the film turns out to be, in my case. The script is almost like a comic book but when you start making it, for some reason the film gets very serious.