When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.
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.
Even the busboys at the restaurants have a script to give you. Everybody is in the business.
I got some pilot scripts and auditioned for a couple other ones, too. It was just a standard audition, where I kept going in to read and went up the ladder, in terms of people who you're performing for during those auditions. Each step of the way, I was happy with that level of audition.
I am going to have to stick to the script. If I muck around with the words it will defeat the object.
I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you.
When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!
You never know when you're taking a job, ever. . . but you try to take good scripts. That's all you can do as an actor - take the best thing available. Even then, it's not [really] in your control. Certainly not in film and TV, because there are so many other elements. You just have to take control of your own performance.
When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good. " So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
Mine is studying script and being very academic and trying to be important.
Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want.
I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.
I love working that way, and that's sort of the way that Mark, Jay, and I have been working for years, where we start with scripts that are really solid and well-written. But once we get into the scene and we start doing the work, we definitely loosen things up.
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 never turn down scripts without good reason. If I did, I would probably never work.
I love reading scripts and offering notes and opinions. I'd like to be an advocate for the emerging filmmakers whom I'm working with.
It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.
If you steal other people's characters, it doesn't work with the context of the scripts and what is written, so I wanted to make her my own. I was petrified, in the beginning, because it's such an iconic character, especially being a young lady myself.
For me, my rule in this industry is I've got to listen to my butterflies. So if I got butterflies, then those are the scripts I go after.
I'm a sucker for a funny script. And then, as soon as I don't wanna be, one comes along and grabs me.