I wrote and finished the script for 'Man in the Middle' two weeks after the September 11 bombing. It's a very American film about an ex-diplomat based in the Middle East, a leader in the U.S. administration who now sells used cars in the Middle East.
I hope to be involved in a successful movie script.
I don't want this big stardom thing. I just want a good script.
Mr Tony Hopkins says he's willing to do it if he likes the script.
I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.
Every movie you attack has its challenges, and I was excited about the challenges presented by 'Deadpool.' I was a huge fan of the original, and I think, as a director, you have to put the script first.
I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.
When you read something in script form, there are some subtleties that stand out with far greater gravitas than sometimes what you see on screen.
I was actually really sick of being a broke actress with a toddler, so I wrote a script.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
I love to see how a character unfolds off the page in a project. I don't always know how the character is going to turn out, even with the script being there. It's not always clear where that character is going to take me. Or where I will take them.
I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.
Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.
When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.
I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.
'EastEnders' keeps me so busy - that is where I'm at and I can't see that changing too soon. There's nothing that has quite got the punch of an 'EastEnders' script.
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.
The more love I craved, the more distant and abusive he grew. The role I longed to play was never written into Ryan's script: daughter.
I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do.
A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.
I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to.
I'm sticking to the script, I'm putting that organic feeling back in the game.
The script is very good because the things that happen in it are very believable to me. It doesn't presuppose that the world has changed very much. You don't have to think that you're in a different world.
I never see how meaty my role is. If I like the script in its entirety, the director, or if my co-star is someone I greatly admire, I sign up. You learn so much being part of a great team.
There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?
I decided to give acting a serious, committed try, and soon after, I read the script for 'Lovely and Amazing.' The story was beautiful and honest, and the characters struggled with the same insecurities many women - including me - face. I didn't think I had a chance in hell of being in the film, but I knew I had to go for it.
I didn't want to play a rancher. I didn't want to have a cowboy hat on; I wanted to get away from that in the things I do. But I read the script and fell in love with it. As hard as I tried to say no, I couldn't.
I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.
I feel nervous when the script is set in stone, and I feel nervous when I feel the script is written for mass consumption because I don't see myself that way.
With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others.
That's the thing about the script, is that how these people were affected by their decision, and how it could ultimately kill them, and I mean literally.
We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
I didn't know 'Homeland' was going to be 'Homeland.' I just did it because it was a terrific script, and they pitched me the story line, and I was like, 'Huh, that's interesting.'
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
