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.
I tell my workshop students, 'I want you to think of yourselves as artists. Then, when you're writing, you're painting, you're crafting, you're making a design, you're sculpting, you're creating choreography, sound, a sound script.'
Shooting in Hong Kong, you can do whatever you want, even change the script every day. In Hollywood, you have to have a lot of meetings.
Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.
Originality is, for me, the most important quality in a script.
Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.
I don't start writing a script until I can see it all in my head, then it's a matter of getting it down in white heat.
I'm not saying I'm a writer, but I've been in movies for a long time, and I think I could write a script for a movie.
I'd love to work on a script in collaboration.
I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.
If I get a script that's set in the jungle it goes to the bottom of the pile because I don't think the playgrounds are going to be very good there! I'm really aware of how lucky I am but I have the kind of job where I can bring my child to work.
I work with my instincts. I don't have a process that I learned in an acting class whereby I break a script down or whereby I do a certain kind of research.
It's all about the script. Reality is key to me and less cutesy.
First off, from reading the script and knowing that I was going to be apart of it, I'm a huge 'Wizard of Oz' fan so to be involved in something that was connected to the original books was really exciting for me and it was very different than anything I had ever worked on before.
I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
'Scalped' No. 1 was only the third comic script I'd ever written. I really learned a lot about writing on the fly with that series.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.
You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.
You can win more arguments then you might think as a writer, even though you legally have no recourse, and your script can get muddied and altered in any way possible. You can use reason, logic, and passion to argue persuasively for a case in your favor.
Because these show are live, script pages are being switched during the program and new commercial teases might be yelled in your ear with just enough time to scribble them on scrap paper before reading them.
Back then, it was more or less we couldn't change a line in our script. We weren't allowed to change lines. Today, actors change everything and won't do parts. It's very different today. Back then, the producers were in charge. Today actors are more in charge.
When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.
The script was always the most important thing to me and I loved the script. For one thing, I've always admired trees. I just worship them. Think what trees have witnessed, what history, such as living through the Civil War, yet they still survive.
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.
I didn't realize that, in doing a documentary, there is this process of discovery. It's not like a film or a play with a set script. It sort of reveals itself.
I guess, as a director, you sort of take the script, and you find ways to interpret it.
If it's a terrible script, it's a terrible bore.
Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.
I was on vacation with my family when I got the scripts for 'Wanderlust' and I was trying to work on the audition while I was on vacation. I remember a big gust of wind blew the entire script into the pool, so I had to dry it with a hairdryer.
A movie goes from several stages, from idea to script. As you continue shooting, you will make some adjustments. You're constantly adjusting. It's like a piece of music. You're constantly trying to make it better.
I don't worry too much about the script, I just ad lib, like Pearl Bailey.
Of course, I'm not allowed to talk about the script, but I can say it is a really good story.
The script was just the best I'd read in a long time and I love the humor, which I wasn't expecting, and I like the fact that my six year old daughter can see the show without being, you know, protected from it.
The script is just a blueprint.
