Rich Sommer Quotes
Improv definitely made me a better auditioner, without a doubt. We did do an audition semester in grad school, and that was helpful for those times that you have a script and you have a few days to prepare it, to really work on sides. But the auditions I was doing in New York, if you got it the night before, you were very lucky.
Quotes to Explore
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I'd read a lot of scripts, and I remember reading 'Orange Is the New Black,' and it was at the head of the pack. I remember thinking, 'Wow, that is really good. I would love to be a part of that.'
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Would you believe, I am still offered scripts and projects all the time?
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This script was just so much smarter than usual and I'm just fascinated by human behavior.
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It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.
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And I sit in my jacuzzi with my script.
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Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.
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If I showed you scripts from my first few movies, the descriptions of my characters all said 'the ugly girl'.
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What made me want to be on it was reading a really good script, and being compelled by and attracted to the characters. I really loved Maura Isles, who was very fascinating to me.
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The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.
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When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
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I try to have a balance of things you like and things you don't like about a character. But once you start that, all these scripts are like, "You play the douchebag friend of Ashton Kutcher." It's all these characters that are overconfident or hyper-masculine.
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All great scripts need not reach silver screen, and every good story can't be narrated in a 2-hour film.
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I'm fine I said for the 2,467th time this semester. (I know. I was keeping count)
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To sit down at a computer every day and write a script is commendable. I don't have the patience for it, but I have some fantastic ideas.
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I love reading scripts and offering notes and opinions. I'd like to be an advocate for the emerging filmmakers whom I'm working with.
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There's one great script that hit my desk that I didn't change at all, and that was True Romance.
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I feel like a lot of times when you get signed to an agent they just send you everywhere, so I still audition for a lot for voiceover stuff. I actually don't book a lot of it, and I love doing it so I get disappointed because I want to do more voice stuff.
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I'm always trying to work on scripts. I'm pretty selective. Sometimes maybe too much because I'm broke .
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As children, we all hold on to the myth of omnipotence. Comics are successful because kids identify with superheroes. They'll read a book or watch a TV programme and say, 'I'm that guy.' And that guy is always the one in control.
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Every time I hit the ball on the wall I uses to pretend I was there Wimbledon. When I went to sleep I used to pretend I was there.
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I love the start of autumn when the trees in my garden change the colour of their leaves in one last dazzling display.
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Improv definitely made me a better auditioner, without a doubt. We did do an audition semester in grad school, and that was helpful for those times that you have a script and you have a few days to prepare it, to really work on sides. But the auditions I was doing in New York, if you got it the night before, you were very lucky.
