I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
I sometimes think that the In campaign appears to be operating to a script written by George R.R. Martin and Stephen King - Brexit would mean a combination of 'A Feast for Crows' and 'Misery.'
I love an acting challenge, and I love getting to sit down with my script and do all my drama work.
Sometimes you have a period piece where you have to research around it but, if the writers have done their homework well enough, the information is all in the script.
With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.
I turned down the first script offered to me, and the second. I lay on my back one day under an umbrella, in the garden, reading the third, and wondered why I had turned down the first.
They're still working on the script - they've got to get that nailed down and they want the first movie to come out obviously, not get too ahead of themselves. But yeah, it's looking good. I love the second book a lot as well, so kind of diving into that is awesome.
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
I'm good with a script.
If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.
When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.
I do music because I can just pick up my guitar and sing, and completely satisfy, instant gratification. I don't need a script, I don't people, I don't need anything, cameras, I just have myself and my guitar, or keyboard.
Yes, TV is the dominant medium in Pakistan, but it was a conscious decision to have an Indian film as my first release. Being launched in an Indian film with a great script, character, and music is half the battle won. The rest is destiny.
What's fascinating is that when you write a script, it's almost a stream of consciousness. You have an idea that it means something, but you're not always sure what. Then when you get on the set, the actors teach you.
'Galaxy Quest' was cool to work on. When I first signed on, I really didn't know anything about it. I read the script, which I though was cool, but it wasn't until I saw the designs for the CG stuff that I knew it was going to be pretty sweet.
I learn the whole script before I show up.
I've never committed to a role without a script.
Because I used to go and watch him rehearsing for pantomime, and I have adopted some of those priciples, like try to be on time, learn your script, how he approach it, etc.
Having grown up Catholic, my prayers were scripted - memorized and deployed in church and before bed. As a young adult, I veered off script and talked to God more plainly. And by 'talked to,' I mean that I basically asked for things to turn out the way I wanted them to.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
When 'Pune-52' was offered to me, I liked the script, but I wasn't convinced about the kissing and other intimate scenes. I tried talking to the director, but things didn't work out.
I remember going to Bob Preston's dressing room because I was losing a laugh - as you do in a long run. He said, 'Give me the script. That's where you're going off the road.' That's comedy. It's never the line itself; it's in the foundation.
Are Christians too stupid that we can't write a script, we can't film a movie OR we don't know how to act?
When you sign up to a film, you sign up to everything that's in the script. I really believe in that.
I was studying my 'Bold and Beautiful' script the other day, lying in a hammock, when one of my Siberian tigers walked up and grabbed it out of my hand - she wanted to play. See - teeth marks!
The key is, if you're not monkeying around with the script, then everything usually goes pretty well.
It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.
Then I got the offer to play Buck Rogers, but I turned it down thinking it was a cartoon character. Well I was wrong, it wasn't at all. So I read the script and decided I liked the character, it had a good concept.
I didn't want to do 'Casino Royale' when they told me to audition. I said no. Then they sent me the script, and I thought it was actually very interesting - and I had no other work at the time.
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
They have become part of us in that if we get dressed up as them, we don't actually have to have a script. You can just become them. You just become nervy.
If I've still got my pants on in the second scene, I think they've sent me the wrong script.
Since I was 12 or 13, I have been taking movie meetings finding a project right for me because I wanted to try it. Craig gave us the script - it was set in Wales, it is really British humour. I just loved it.
All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.
I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.
