I was out to have a good time and have some fun. It's a fun script and fun people are in the movie.
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.
I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.
I was deliciously happy filming True Blood. I even kept all the scripts in my office, which I never do with any script. Although I did shred them all in one go when the series finished; it seemed like a ritual, somehow.
I've written plenty of scripts that sucked.
Whether I'm interested [in something] or not, step one is read the script and figure out if a character is someone I'd want to explore or not.
And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.
I'd love to do a sci-fi movie, a western, or an espionage thriller. But I'm not going to limit myself. If a good script comes along, I'm not going to discount it because it doesn't fit into one of these genres.
It all starts with the script: it's not worth taking myself away from my family if I don't have something I'm really passionate about.
I didn't like the script [of Aquarius], I loved it.
Every once in a while a messy character who manifests a REAL body emerges, for instance, Lisbeth Salander - and certainly commercial genre fiction is full of examples of real bodied sexual encounters or violence encounters - but for the most part, and particularly if you are a woman or minority author, your characters' bodies have to fit a kind of norm inside a narrow set of narrative pre-ordained and sanctioned scripts.
I always get quite close to my script because I work quite hard on them.
On day I noticed that something happened that looked like a dramatization of the inner script of my psyche.
Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.
You can have a great script, and it can be a great show, but for whatever reason, it just doesn't take the public's interest.
I just have so many scripts to read!
I don't look at scripts in terms of commerciality. I just look at the part, the people involved.
There is no such thing as a good script, onlya good film, and I'm conscious that my scripts often read better than they play.