Script Quotes
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For 'A.D.,' when I got the script, I was really moved, because even though it told a story that I knew all my life, it was told in a different way. It was told from a very personal point of view.
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There was a thing in the Andy Kaufman movie that Jim Carrey (Man On The Moon) about how he would do it. I didn't even see the movie. I read the script. But someone asked me, "Do you know what the best part of the Jim Carrey/Andy Kaufman movie is?" And I said, "me lee see ree bee." I just knew that would be the best part.
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Yes, I am aware that I have become a caricature. I've thought about this. Conceptually, what I'd like to do is the equivalent of writing myself out of the script.
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We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.
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I would consider a half hour sitcom if the script was good.
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I've never known a situation in my career where a terrible script turned into a movie that was out of this world or was a success.
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I've done films where you have to get in shape for purely vanity reasons, when you read a script, turn to page 87 and it says: "Rips his shirt off and casually throws it onto chair" - and you're going to go to the gym the next day because nobody wants to see your big fat arse out there taking your shirt off!
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The script for 'In Good Company' was the first one I ever showed my dad.
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For me, the script is important. If it excites me, I'll do the film.
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I wrote Collateral Beauty on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.
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It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever.
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For writers that rehearsal period is death. It is the most destructive thing of all to a script.
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I think every script has meaningful messages no matter what it is, because inherently life is full of meaning and every single day we lean a lesson.
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When I was writing the script, I knew didn't want to make a sports movie. I was very clear that I wanted to make a sibling rivalry story. So when I was writing the script, the football was getting in the way of the drama. One day, I saw Michael Haneke's Funny Games, which is probably the most violent film I've ever seen - but the violence is off camera. When I finished watching the film, I said, 'Hey, that's what I have to do.' Haneke gave me this solution.
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Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
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When I adapt a novel, I don’t really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.
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It's fantastic, are you kidding? To sort of be part of this project from the ground up, from the script form, and then for it to kind of do as well as it did in the States in the festivals, and come here; it's fantastic, it's wonderful.
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I was on holiday in Ibiza, having a lovely time, writing a book and looking at the stars every night and generally not having a care in the world. Then I got sent the script for 'Death in Paradise.' I couldn't get back to England in time for the auditions, so my girlfriend filmed me on her camera, and I sent it off via email.
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My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.
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Let me tell you what, reality is better than any script you could ever write.
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I really choose by what I like, i thought 'Alexander' was a super smart script. Just [costar] Steve [Carell] alone would have been enough. Gosh, I love working with that guy. He's just the best.
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Once you finish the script, it's no longer yours; it's the other people making it, which sometimes can be hard.
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Show me a bad script and I will show you a big payday.
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Obviously, if Woody Allen calls and says he wants you to read a script, of course you read it.
