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Well, obviously, as soon as I'd finished the script I read a lot of books on Winston Churchill, and started to gain weight and really prepare emotionally, mentally and physically for the role.
In 'W,' I did not change a word in the script. I have never spoken this much in other series. I just stick to whatever is written. I always carry the script with me and read it before I sleep.
I was studying my 'Bold and Beautiful' script the other day, lying in a hammock, when one of my Siberian tigers walked up and grabbed it out of my hand - she wanted to play. See - teeth marks!
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
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.
Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.
I like 1977 because it is more primitive. If it were modern day, like one Universal guy was like wouldn't they just use their cell phone? I guess he did not read that it was 1977 in the script.
When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.
I didn't want to do 'Casino Royale' when they told me to audition. I said no. Then they sent me the script, and I thought it was actually very interesting - and I had no other work at the time.
I'm reteaming with the producers of 'Twilight' on an awesome script. It's very serious, dramatic and different for me. I'm excited to see what's next. I love all aspects of film and all genres.
Improv plays such a huge role in finding great lines - you'll be surprised at what comes out of your mind inadvertently. A lot of times it's better than a script you've worked out ahead of time.
It was also wonderful to have the prospect of playing with Jack Nicholson. It was a terrific part, a terrific script, with Alexander Payne and Jack Nicholson. You can't get any better than that!
I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.
The way you get your script to the right people is that you put it in an envelope. It's easy. The difficult bit is writing something that is so good people will take a punt on a brand new writer.
It's a hindrance in trying to get a serious acting role. The minute a producer has a script and my name comes up, they immediately think of 'Playboy,' 'Hee Haw,' 'Fantasy Island' and 'Love Boat.'
The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.
It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.
There were rumors I wasn't going to die. The whole cast was sitting around the table reading the script. I fell on the floor - I'm not kidding. I looked up at Katherine Heigl, and she was crying.
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.
There have been a few times when I've read a script and it's really cool but the girl character's just kind of pathetic. It's not going to do me any favours just being 'the girl' in a cool movie.
To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'
When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
I'm an instinctual actor. I don't really talk about it. Usually if I get a script and I'm having trouble with it, I go to sleep and I dream about it because I'm super internal with the way I work.
I did an ABC Family movie called 'Cyberbully' a couple years ago, and it was unlike any movie I'd ever done before. I remember just reading the script and thinking, 'OK, she cries in every scene.'
I really want to work with Adele, I think she's amazing. Lykke Li as well. I love them both. I'd also like to work with The Script. I met them in Australia and we just got on like a house on fire.
I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.
If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.
Axone', of course, was on racism, but it was also a kind of representation that hadn't happened ever before of the Northeast and the people from there. It was a nicely-written script; it was funny.
I wrote a play at drama school, which was a dark comedy - people laughed and cried. And then my script of one of the shows was picked up by a comedy sketch company... so then I had to write comedy.
Every year, I go to Suriya's house to tie Rakhi on Raksha Bandhan. On one such day, he asked me if I have a script in hand and that's when I gave him the half-completed script of 'Soorarai Pottru.'
The difference between a movie star and a movie actor is this - a movie star will say, 'How can I change the script to suit me?' and a movie actor will say. 'How can I change me to suit the script?'
I read the script for Wonder Boys, and I said that was almost perfect, it was so classy, cool and funny. It's a really specific thing. We stuck to it, it turned out good and a lot of people liked it.
I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story.
They put it on the page because it sounded good or it looked good or they read it in a book somewhere that this is how you structure a script or something, and they just don't get it. It's surprising.
Aaron is not at all what his image might indicate. He's fiercly loyal and a true and total gentleman. He's very shy but has very strong opinions. He's into everything, wardrobe, hair, script, casting.
I was sent the script for 'Silver Linings' when I was doing a play in D.C. at The Kennedy Center with Cate Blanchett and I was sent the script and asked if I was interested, and I said 'Oh, boy am I!'
All we did in Alabama was have a read through with the script, but there was, 'No, well, it needs more. You've got to do this, Albert. You've got to do that, Jessica.' It didn't feel like that at all.
It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
I love improv. 'Crazy, Stupid, Love,' the script was really great, but the directors were open to letting you try different things. And that felt like a muscle I hadn't exercised in a really long time.
We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.
You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.
I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
When I was 21, I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for 'The Simpsons' who'd briefly joined a religious cult and then discovered Foucault. Such is life.
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.