When you audition for things, there's pressure to go in there with a complete performance, and it's kind of unfair because, if you get it, you'll have rehearsal and talk about it, and you'll have plenty of time with the script. So, for me, I really do feel like an audition is a sketch of what you might do.
I didn't like the script [of Aquarius], I loved it.
I always want to read the script before I totally commit.
I don't like scripts leaking. On the other hand, the more real attention a script gets, the better.
I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.
When I was 16, I got 'Jamon, Jamon. ' Of course, I had to lie about my age. And I had to lie to my parents about the content of the script.
A script is a very rough material in a way. Whatever questions you might have regarding the script, you might find the beginning of the answers in the book.
Sometimes with these things all the pieces fall into place. I mean, we've been talking about this for years and we don't have the script now, but sometimes things fall into place very quickly, and if everything lines up it could happen.
To be fair to ourselves, in almost every original script, the timing is actually worked out down to the minute.
I only sound intelligent when there's a good script writer around.
So "Embrace Of The Serpent" is told from the points of view and in the languages of the indigenous peoples of the Amazon. He [Guerra] went there before shooting began, with a script written mostly in Spanish.
I just wrote a really cool script. It's called "One Track Mind. " It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history.
I feel guilty if I'm not reading books, but I read scripts of movies or things that I know I'm committed to that I'm going to do the project. I tell myself, "I'm going to read this script like six times," and I only read it the initial time.
It is easier for a cannibal to enter the Kingdom of Heaven through the eye of a rich man's needle that it is for any other foreigner to read the terrible German script.
I've never taken a script to the stage or to principal photography and said, "This is perfect. This is as good as it can possibly be. " It's not Shakespeare, you know; you know it can probably be better.
The challenging thing is that we go home after doing the run-through and the writers stay there working, so sometimes I get script changes delivered to me at midnight. It's constantly shifting.
I am going to have to stick to the script. If I muck around with the words it will defeat the object.
I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact.
Twenty-two pages is not a lot of space. Believe me. Having written a bazillion comics, I still find myself more often than nine pages into a script and realizing to my horror that I'm only about a quarter of the way through the story I wanted to tell, and the next thing you know, I'm making fresh coffee and tearing up the floorboards to rewrite.
I think first impressions are important when you pick up a script.