I can't imagine being invested in someone else's script.
But you're not necessarily ever going to be handed a script where you can say: it's all done and perfect
I think it's incumbent on actresses to bring something else to the part which isn't in the script.
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
I never turn down scripts without good reason. If I did, I would probably never work.
I've been in situations where I've been sent scripts to direct, and I always end up becoming very controlling and wanting to rewrite it to fit what I think it should say, and it just usually doesn't work.
I won't work on anyone's else's script. I won't write for anyone else. I write my own stuff and make that when the time is right.
I love Marlon Brando and James Dean. That was when it was all about the star and the script. Nowadays, everything has to be action-packed.
Everything is in a script for a reason, and only by being part of a writing team (or writing it yourself), do you really understand the intention of every beat.
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 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, yes, who will be calling me directly, and we're working on things and talking about things, but that's on a purely creative level. And then you go and have to deal with the financial level.
Howard Minsky had gotten the script to her agent prior to my involvement.
I had one well known director who kept saying, "Now Clint, this is what. . . . " And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong. "
It's all about the script. Reality is key to me and less cutesy.
I'm not really that keen on mainstream; I'm not interested in doing the normal films. I do tend to go for the quirky, different scripts.
The hackers who hacked into Sony have leaked the upcoming script for the new James Bond movie. Some of the executives said the news left them shaken but not stirred.
Me and a friend literally had the idea for Wedding Crashers and pitched it, and it was already a script. They go, "That's funny! You should call it The Wedding Crashers. " It was almost exactly like that.
I wrote another wrestling film script. And we finished the shooting [with Lloyd Phillips]. But Henry Winkler came out with his own wrestling film, which did poorly. So the studios passed on ours, and it never got released.
My mum reads every script before I go for it.
You don't have to kill somebody to play a murderer. You have to read the script and interpret the character.