Zitat des Tages über Skript / Script:
If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
You see a script, and you say, 'Oh, I can play the heck out of that,' talk to your agent, and he says they don't want to see you. That's heartbreaking.
My experience on 'The West Wing' was, I think, now rare in that I was pretty young, and I walked into this environment where Aaron Sorkin was giving me a script every week, and Thomas Schlamme and John Wells were keeping the studio off my back, at least as best as they could.
I'm just a sucker for a good script.
It's funny: the reason I did 'Beautiful Creatures' was the same reason I did everything else - even though it was a genre film and existed at a more studio level, the script and the characters were so well written.
The first thing that attracts me to any script is the writing. If I find myself becoming lost in a good yarn, then I feel certain that others will, too.
To find a script that works with provocative ideas is hard to find.
I like challenging parts, something I haven't done yet, something that scares me. There's just a feeling I get when I read a script that I love, I feel an attachment to it, a yearning to play that character.
What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do anything with the script.
I liked it because it was such a dangerous script and showed just what human beings are capable of. Here was a movie in which Morgan Freeman and Brad Pitt, who always win in every movie they ever do, simply don't win. I felt that was outrageous for a commercial movie.
I felt like Alan Turing's story was such an important story to tell, and it was so wonderful to write the script and other people find it and say, 'I never heard this story.' It's such an amazing story that people don't believe it.
Working with Danny Thomas was truly an adventure every week. Danny didn't always say the words as they appeared in the script. I learned more by osmosis than by sitting down together. He was a force to be reckoned with: an explorer of television.
A good script and a good brief from the director is enough to let me know what is expected of me.
I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
I'm not going to tell you the movies, but I remember getting halfway through the thing and everything sort of tunnel-visioned on me and I couldn't read the script anymore. I looked at the people and I just turned and ran out in a cold sweat. It took me about a year to study it and feel comfortable going in and reading for people.
I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.
Rock is all about writing your own script; it's all about pioneering.
I generally edit quite heavily. In general, there aren't many scenes that are sitting where they sat in the script in the final form.
I don't want to do sing-and-dance routine. I believe script is the king, so I would go for powerful stories.
For me acting is a passion and an art, and always will only be that. I don't have any rules when it comes to acting. I'll do anything. But it depends on the script. Either I'll have passion for the project or I won't. It's got to fuel me.
When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.
A script can just be a blueprint, and you've got to go in and build it and color it in and paint it.
There's something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It's almost like a miracle in the making.
A good film script should be able to do completely without dialogue.
If I'm having a bad day in rehearsal, I'll sleep with my script.
When I read a script, the important thing is that I can connect in some way with that character and have some idea from what his story is that I can tell that story too, because that's all acting is, is storytelling.
My personal experience has been that in my 25 years of writing, I have not been asked to do more than four or five commercial one-shot scripts. These were performed on major national hook-ups but produced for me no immediate additional jobs or requests. One script for BBC was done around the world with an all-star cast.
It's never a script that makes me decide to accept a film or not.
I have absolutely no preference on TV or stage. Every job I take or that I audition for all comes down to the quality of the script.
I love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.
A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.
I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job.
Nobody just flops a complete 'Doc Martin' script on the desk. They all have to be taken apart and all the apologizing taken out. Because it's hard to have a protagonist that doesn't really like anyone and nobody really likes him; it's a hard premise to start from.
What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it.
In 'Law & Order,' your main job is to stay out of the way of the plot. On another show you'd receive your script and see stuff that seems challenging and feel excited that the writers thought highly enough of you to write it for you.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.