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In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.
In 1990 there were about 300 scripts being written demanding the release of Nelson Mandela. And suddenly we watched Mandela walking out of prison. So those scripts had to be destroyed.
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I love doing comedy. You don't get many good comedy scripts. They're rare. But, I do love playing comedy. Even in drama, I like to try to find the humor because I think it's very human.
It is a conscious choice to go for content-driven scripts because that is the key for any film to work. There are no two ways about it, and I have always been attracted to great content.
Certainly, you envy the guys that have done all kinds of things, a variety of good scripts and good directors. Then again, having worked with Cassavetes has satisfied a big part of that.
I was really surprised to see how critical the Malayali audiences are. It is really overwhelming that people genuinely want good scripts and do not miss a chance to applaud good scripts.
I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.
I started at an agency called Intertalent. You copy scripts, you pick up people's dry cleaning, you take their dogs to the vet, you deliver packages, you do whatever they want you to do.
All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.
The best thing for me is, when I'm not working, is to be at home and to have a script or two scripts is better, and to be just walking around the house and just thinking about the lines.
My primary job is to choose the programs, either to co-produce them, or acquire them after they're finished. So, I read a lot of scripts, I meet with producers and I read a lot of books.
When I saw the script [of The Man], I saw the character and knew I could do the character. It's a relationship movie, which is also what I love to do. That's what attracts me to projects.
I'm cold in summer. I'm the coldest person ever! It's very ironic I'm never cold in the scripts. Every time I'm shooting, if you don't see a part of me, there are hot water bottles there.
Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.
Luckily the script [of X-files episode] was written wonderfully and that became who I was and I was quirky, and I was kind of agitated and not entirely happy, but at the same time, witty.
On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.
You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific.
I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.
I try to read everything that's sent me - play scripts, movie scripts - but I've had to make a rule. If the author hasn't grabbed me by Page 25, the piece goes back with a note of apology.
Like most struggling writers trying to get their scripts commissioned, I had to do something odd to pay the rent. So, aged 21, I started up my own small cheesecake company in Philadelphia.
It was a joy to be a part of the team that created Round The Horne. I was involved with the show at a time of my life when I was very happy., and that happiness overflowed into the scripts.
I'm not yet fortunate enough to take only the scripts that capture my fancy, but each one has to be a new experience, to put me in a light that audiences haven't necessarily seen me before.
The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.
We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor.
Knowledge is honestly everything. It's not just books and staying behind a desk and having a diploma. There's also traveling and knowledge about people, and what I do and scripts and books.
I read a lot of scripts. I believe you've got to read one that you know you're not going to do, because you've got to educate yourself on what's out there to make the best decision for you.
Working for several years as a waitress, you learn really quickly a couple of default scripts, so you know exactly what the interaction is going to be when the person sits down at the table.
It's very tricky to know when to stop. I think there are definitely moments where you feel that is the heart of a scene. When you're working on the script, you're looking for a handle on it.
The Hollywood model is to develop scripts for 10 years, sell them, transfer them, attach this actor, then attach a director. This isn't what I'm about. I'm much more of a creator and a doer.
Hmm, limelight... No, I'm not Sienna Miller or Angelina Jolie. I'm very lucky and happy, but I still find it very difficult to get good scripts and good roles. It's really a jungle out there.
I hate it when, by page 30, I know what the lead's going to do and then what the bad guy's gonna do. Mostly it's just scripts by the numbers where nothing's surprising, nothing's interesting.
You learn, even at 'S.N.L.,' that the funniest scripts a lot of the time were written with the actor, because they know what makes people laugh. It's always going to be better if they own it.
I've seen a lot of friends who have a lot of great projects, whether it's a script or a play or whatever, and it is a great project and they have great people involved, and they can't make it.
I don't work for production houses. I only work for good scripts and roles. If you follow my career graph, you will find that I have not given a single flop yet in my career. I am proud of it.
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.
I'm on Facebook anonymously. I wanted to see how people use it, what's going on there, but I personally didn't want to be on it because everybody in the world tries to get to you with scripts.
There's no doubt that the patriarchy that we live in also controls the movie industry. The heads of the studios are men, and it's reflected in the scripts they buy and the work that gets made.
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I feel lucky, though, because even when 'Alias' was popular, I was still sent scripts against type. I've never felt like the world only sees me one way. But yes, it's been really fun to be bad.
Usually the script is much more funny than the film turns out to be, in my case. The script is almost like a comic book but when you start making it, for some reason the film gets very serious.
I hadn't done comedy before 'Fresh Meat' - I hadn't really been seen that way, and then 'Fresh Meat' came out, and suddenly a lot more comedy scripts were coming my way, which was really great.
Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.
I've written a couple of scripts. Actually, a pilot. I'm not sure I'm allowed to say, but it's a comedy about three young men in New York City, one of whom may or may not be a romantic like me.
You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.
I shouldn't be surprised if John Cleese's scripts don't become set texts for examinations-they're classics. And I can't tell you how service in English hotels has improved since 'Fawlty Towers.'
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!
When I was in school, I was always writing scripts and dressing up as characters. I'd constantly be that guy who'd get up on stage. I used to write imaginary TV shows, like soap operas, for fun.
I was kind of burned out, a little jaded, and just sort of disillusioned by all the 'Mighty Duck' movies and everything just being about making money and not really caring about scripts anymore.
The truth is, there are probably eight more 'Snow White' scripts floating around out there. And once one 'Snow White' script got hot, other people started pulling out their 'Snow White' scripts.