I'm not staying away from any genre. I'm trying to get scripts that I like.
My dream is to become a director. I want to direct a Hindi film. I have two scripts ready. One of them is a fantasy-adventure, while the other is a thriller. I've assisted my brother Selvaraghavan, who's a well-known director in Tamil cinema. I've also made short films.
I like taking up challenges. I prefer working with scripts that are different and veer from the tried and tested. So far, it's always worked.
We've read scripts, and I think right now we are just focusing in on school.
I want to work with intelligent people and look for scripts that I think are intelligent and surprising.
I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.
I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.
When what's around you - such as scripts, or like me being on the show and playing 18, now me doing this film playing 18 - it's kind of been what's been there for me.
You're sent scripts, and for some, as soon as you start reading them, you feel an instant connection to the character. You know who they are, you know how to play them, and there is instant enthusiasm. Then, at the audition, you don't have nerves because of that natural affinity.
The scripts that I've been getting are of epic proportion. People want me to lead the big armies.
Usually, when you get early versions of scripts, they are not very good. I found 'Borgen' amazing from the very first read-through because of how fast-paced and gripping it was. It felt more international because of the way it didn't dwell on the characters' personal lives as many Danish shows used to, but still, nobody thought it would travel.
It was a joy to be a part of the team that created Round The Horne. I was involved with the show at a time of my life when I was very happy., and that happiness overflowed into the scripts.
I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.
A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.
There are two separate scripts for 'Mockingjay' parts one and two. It's definitely one story, but there are two totally distinct and separate scripts.
I've sold scripts in the past, and also a TV pilot that didn't get made, to Fox. But yeah, I've been writing for a while.
At this point, I'm happy to be part of something special. As an actor I liked to choose scripts that I'm passionate about.
I have a very good memory for scripts. I can watch a show I like once, then remember about 90% of the script. But ask me who was in it, and I wouldn't have a clue.
I live in New York, so I don't get that many Indian scripts.
I have scripts that I've only shown to animals... and they passed on them.
I knew what my scripts would say before I opened them: 'Enter Conchita.' I played handmaidens, Indian squaws, and Mexican dancers.
I feel lucky, though, because even when 'Alias' was popular, I was still sent scripts against type. I've never felt like the world only sees me one way. But yes, it's been really fun to be bad.
I admit, I do a lot of projects, but it's because I'm in a position now where I'm reading a lot more scripts and plays and things, and I'm really listening to offers and trying to think what I want to do at any given time.
I used to do films for money earlier. I never knew what perception meant. I didn't give too much attention to scripts. It was either to buy a house or to buy a car. There was a certain frivolity to the way I used to pick up things. I wasn't taking my career seriously.
Marketing is such a key issue; in fact, the marketing department is often involved in the approval of scripts now.
Writing is getting killed by too many chefs. Back in the Bogart days, it started with great scripts. You had a writer, and he wrote a script, and that was your movie. I think that's been watered down a bit lately.
I was influenced by autobiographical writers like Henry Miller, and I had actually done some autobiographical prose. But I just thought that comics were like virgin territory. There was so much to be done. It excited me. I couldn't draw very well. I could write scripts and storyboard style using stick figures and balloons and captions.
As a producer, I want to back projects, talents, and scripts that speak to me not just as someone from the industry, but as an audience.
The beats are like scripts, and the raps are my monologue.
I was a novelist first. But in the mid-'80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, 'You know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.'
I look for good scripts, not anything. It should inspire me, and the audience should like it.
I practice reading all the time. I read everything and having so many scripts to read, which really helps out as well.
I have never turned to my girlfriend and said, 'Oh, okay, babe,' and I see it in scripts all the time.
I've received some English-speaking scripts, but I was not interested in them.
I don't prepare for anything very well. I am not a good actor. I don't read scripts.
So often, I read scripts and am like, 'This would never happen in real life. It's not trying to be funny. It's trying to be serious.'
