Lot of the scripts I've been in with other non-white actors haven't been great. Lot of non-white actors ain't all that great.
There are elements to my faith which are echoed very closely in the scripts that come through. I read certain moments, and I'm able to say, 'Yes, I recognize that. I champion that. I ally myself to that idea.' Then there are times where I don't. My feeling is, at this stage in my life, that it will be an ongoing struggle.
I mean, I've sold all these scripts and nothing's been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don't get made.
In terms of script, Bollywood should learn from South Indian scripts. Not talking about the fights and action, I am talking about the drama bit.
Making a show is such a long process. You go through a TV production house that will commission scripts, and if they like what you've written, they take it to a network and sell it to them. It has always felt very far away from something that's actually real.
I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's, like, an action flick with a great director, then it's like, 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director, I don't know if that's the trajectory I want to take with what I'm doing.
We were all thrown together on this show very rapidly, there was casting then a few days later a meeting where we all got to read the scripts and meet each other. Literally days after that we were on our way to Dallas.
I've been blessed with some lovely scripts and a character that people could truly identify with. It's one of those surprises in life that makes you think, 'God was smiling on me that particular day.
In high school, I was doing my magazine 'Rookie' and a lot of writing, and I became a little less interested in the fashion world. I was approached by an agent for writing, and I said I wanted to act as well. They sent me scripts, and then I got my first Broadway play, 'This Is Our Youth'.
When I look back at it, I'm mostly amazed at how poorly it was shot. David Kelley is a great writer, and I thought the scripts were great, but it just looks so cheap.
I won't read scripts because I have a limited amount of time. Why should I help other people do lame stuff when I can just go out and put on lame stuff of my own?
I learned so much by being an actor, and part of my sort-of development as a writer is big thanks to the scripts I read in my acting life.
With TV, the pace is so fast, the scripts are coming at you, the directors are firing things at you, it's breathtaking.
I read a lot of scripts, so I know by page 25 if I like it or not.
Movies are not scripts - movies are films; they're not books, they're not the theatre.
There are all these scripts where the women, if they're working, are prostitutes and lawyers with an angry streak who'll kill you. It's a reaction to women leaving their men and men being angry about it and saying it on some subconscious level.
My main source of reading is scripts, which doesn't leave a whole lot of room for books.
I can't imagine something worse than scripts being written into a tunnel, thinking, 'I don't know when this ends. I don't know.' It usually ends when people get sick of it, but I think it's great when it gets to end on its own terms.
I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.
I read so many scripts, and it's not really exciting to just be the girlfriend.
They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
I'd always envied actors who got to play real people or got to do research. I've always just had these scripts where, I mean not in a bad way, but it was right on the page.
I had been quite judicious about the scripts I was reading, but nothing was really taking my fancy until I pulled this script out: 'Lucifer.' I have to say, within about three or four pages, I thought it was hilarious; I laughed out loud a couple of times and knew this is the one that I wanted to do.
There's no one I trust in show business more than Sabrina Wind. She's my eyes and ears when I can't be there. She weighs in on everything, from scripts to sets to advertising.
If I were actually Homer Simpson, I'd be getting scripts out the wazoo.
Success is freedom - scripts coming your way and getting to choose the stories you want to tell.
So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.
Most scripts are bad. I read a lot of them.
I find the most interesting and most daring scripts tend to be for independent films.
I don't really want to just play the girlfriend or the love interest. I get so many scripts like that, and - not to moan, because I'm really fortunate - but I just look at those scripts, and my heart sinks a little bit because I think there's so much more to us than that.
I've been fortunate with my acting career. A lot of scripts come to me. I don't mind auditioning if something that requires that, but I haven't had to in awhile, which is a nice place to be 'cause I've been on quite a lot of auditions in my life.
I have been sent three or four scripts for television series, but there wasn't anything I really wanted to do. I want to tell a good story, whether it's a TV show, a movie, whatever. That's really my No. 1 criteria.
It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.
I have been reading scripts, going to auditions and looking for the right opportunities.
Be serious. You've got to do the job you were hired to do well, but there's always more you can do. When I was an assistant, I would say to myself, 'You may not be an executive, but act like one.' I would volunteer for any creative assignment - read scripts, do 'coverage,' write notes.
I'm open to all kind of scripts. As long as there's enough scope to perform, I'd take up the offer. In fact, before Yuvan and 'TT' happened, I got an opportunity to work with a top actor-director combination. But my height proved to be a setback.
