Script Quotes
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I always find it fun to read a script and then find the messages in the script because I believe every story has them.
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The writing of the script is a continual process. There's the first draft and then many, many re-writes here and there.
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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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I don't come from a film background, so I am free to work in any script that interests me.
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We're actually doing something scripted that's totally, you know, we kind of know what's going on, however, we're having to live life and death as the art.
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For me, the script is important. If it excites me, I'll do the film.
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Obviously, if Woody Allen calls and says he wants you to read a script, of course you read it.
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After 'Divergent,' I got a job rewriting a sci-fi script at Paramount. I think they really liked what I did, so I got a call saying, 'We're about to shoot 'Ninja Turtles' in three or four months; do you wanna come in and do a little work on the script?' That was the beginning of a many-month 'Ninja Turtle' odyssey.
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Every time I prep a script, I hear it in my head, but I have to keep my mind open so that when an actor does something different than that, I can think, 'Well, that wasn't what I had in mind, but it works. Let's go with that.' That's why you hire actors and not technicians to do voiceovers, because someone who will creatively bring something to the party.
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Every single time I read a script I'm breathless as I turn the pages.
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I hate when I get a script and I can't see who the people are.
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You can always find ways to make it different, as long as it's a really well-written script and well-written character.
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Once the script is done, I put it aside for a month. I start thinking of all the films that have influenced me, which I have liked for different reasons, and not necessarily the look, but films that have moved me. Some very strange films came to mind.
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Finally, when the money was high enough, the script suddenly revealed itself as being very clear to me.
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I would take a bad script and a good director any day against a good script and a bad director.
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The role always attracts me. Sometimes I can read something and I can barely see the rest of the script.
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There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
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I don't like to write a script unless I know who the artist is. A lot of people can do it without that, and that's cool, but I like to look at the art.
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Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.
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The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
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Of course, when you work with actors and when you work on a script everything that you know about the human experience can't possibly go in.
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Some people have scripts and scripts and lots of scripts, and they change it all the time. Even though [Jean-Luc Godard] had no script, he had it all in his heart and in his brain. He can explain it to you in a way where even if you get the dialogue five minutes before in the morning and you have to shoot it later, at least you have an idea about it, because he takes his time to explain things and to do the movements with you. There was always lots of rehearsal.
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I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
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Writing, yeah. Me and my friend Scott Bloom just finished the first rough draft of a script. It's taken us three years to do, but we finally got a first draft. And we'll see whatever happens with that.
