If I read a script in the future that I feel like I could have a little fun with or that reflects me well, it may be one of those things that I try out. But, of course, music's my number one priority.
'City of Bohane' has been optioned for film, and I've finished a first draft of the script.
I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.
What the world does not need is another script or television writer.
As soon as I have the script in my hand, I'll be up in my apartment room pacing up and down learning it because it's just such a lovely thing to do.
Modern American war is as easy to script as a B movie.
Wanting to be liked means being a supporting character in your own life, using the cues of the actors around you to determine your next line rather than your own script. It means that your self-worth will always be tied to what someone else thinks about you, forever out of your control.
I find that with every script I get, I go, 'Who knew this? This is so cool!'
We had a script reading, and that's where we met J.K. Rowling, which was really exciting.
You can trust a Neil Simon script. Every dot. Every dash; that pause means something. He takes all the jokes out, practically.
I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.
I research the role, and if it's a literary character, I read the book, and if it's an historical figure, I research documents and biographies. If it's a fictional character, I work off the script.
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.
You get the initial script, and then things sort of change here and there, but the whole thing is this sort of mushy collaboration, which I love.
Over the years, I would go to my agents, my manager, and I would say, 'Hey, there's this amazing true story about this gay English mathematician who committed suicide in the 1950s.' And they would be like, 'Please don't ever write that script. That is an unmakeable film.'
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive.
In the original script, my character was a basketball player rather than a boxer. I didn't think I could pull that off. I'm a little short to be a basketball player!
I'm just a hired actor who was hired for a particular job, but I think one of the joys of reading the script was the way that the personal and the global are woven together.
When I got a call to do the voice of Johnny in an episode of 'American Dad' titled 'I Can't Stan You,' it was a great opportunity to be a part of a really funny cutting-edge show on television. I really got into the character, and I was able to do some improvisation, which allowed me to mix in part of my personality into the script.
The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.
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.
They sent me the script and I thought that there was something very appealing and funny about it. Also, I was familiar with Mike Myers' work in Saturday Night Live, but I did not know the extent to which he would make this creation.
You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
I am aware that as an actor, I can blame others for the failure of a film, the director, the script, choice of co-stars, timing of the release and so on. But now, as the director, I will have to shoulder all the blame.
Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.
I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.
I remember, when we started 'Leverage,' we were all in Chicago, and I read the script for the pilot and thought, 'Boy, this is just a real interesting place to begin a character.' I had to figure out how to go about playing someone who had hit rock bottom.
The director is a Canadian, Jeff Stephenson, and any time I get a script that has any Canadian component, I'm always immediately much more interested.
I just arrive, they hand me a script and say, do it.
I'm a huge Emile Zola fan, and when Bill Gallagher said he was writing a new character for 'The Paradise' and had me in mind for the role, I knew I wanted to play Tom Weston before I'd even read a word of the script.
I would consider a half hour sitcom if the script was good.
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've been very lucky and been able to work, as an actress, but I'm definitely a working actress. I get a script, I audition, and then I pray.
It's a shame, but every time I get something scientific in the script, I read up to find out what I'm talking about - but then I'm on to the next script and it's forgotten.
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.