Script Quotes
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It doesn't help anybody to put out a bad script.
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Once a script is released that doesn't mean it's the final product. It's not set in stone.
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I would love to do another hockey movie. There are a lot of people in Hollywood looking for the right hockey script.
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I think it's very rare, as an actor, that you get to a script, or an idea of a script, and you go, "Oh, I just have to do that!" It fell into place very quickly.
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When I read the script, I said to one of the producers, "I know you probably want Jonathan Harker really fluffy, but I'm not gonna do that. It needs to be a mask. There needs to be a duel between Harker and Dracula."
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Responsibilities are relative. My responsibility is to a character in a script, to a part I'm playing.
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I don't get involved in casting, budgets, location or promotion. Just the script. And, of course, the promotional tour. Which is fine with me - I'm a novelist.
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You know how we built the pyramids? You gotta ask yourself a question always flip the script. What if up was down and down was up? What if you looked down into space standing up on Earth? This is how we built the pyramids.
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I personally never thought that 'Dallas' would resurrect itself because I didn't think anybody knew how to do it. And it was proven to me on the few attempts that were made. The movie that was going to be done, I read that script, it was atrocious. It was just awful. And I just didn't think anybody understood it anymore.
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I always loved movies, but I never thought I would presume to be a screenwriter and definitely not a director. I spent a lot of time for no money trying to teach myself how to write a script. It always felt like everybody was looking the other way and sneaking that script through the system, but it did well later on video and got another chance.
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Which of these stories will you be talking about tomorrow? The White House by the script.
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I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.
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I think when you write a script, you can't help but pick up on what is happening in the press at that time and what's going on in the newspapers, so you reflect on that and you feed it into your stories in some way.
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About 200 girls went into a room and there were two casting agents and they asked you to say your name and where you came from and then they picked two or three out of that. And they sent you into a room and I was really nervous and kept dropping things and I was going the wrong way and everything. Then she gave us a script and you had to learn it.
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I got the script, read the script, really liked it.
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When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.
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As a fanboy myself, one of the fun things about the gig has been every time I get a new script, I get to find out more about his day - to-day life and what goes on and what his relationships are.
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When you did the job, you thought you were just trying to amuse your friends who are all on the job. I'm just trying to make the sound guy laugh, the script supervisor. A movie like Caddyshack, I can walk on a golf course and some guy will be screaming entire scenes at me and expecting me to do it word for word with him. It's like, 'Fella, I did that once. I improvised that scene. I don't remember how it goes'. But I'm charmed by it. I'm not like, 'Hey, knock it off'. It's kind of cool.
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I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
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I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it?
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I'd love to work in the States; I'd love to work anywhere where you get a good script and a good part to play. But I do love British film as well.
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That mental grind is the same, and this show has to be approached with the same mentality. Rest is paramount. Taking care of my voice and making sure I have the right foods in my body is paramount. Making sure I'm doing my technique work and staying in the script is all substantial. Continually pushing myself to find different nuances in the character on a nightly basis. This is definitely boot camp for me all over again, and Broadway in general is a boot camp for all actors.
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You define your own life. Don't let other people write your script.
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And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes Anderson and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.
