Script Quotes
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The script, I always believe, is the foundation of everything.
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You usually get a script and you tell people what the story's about, and they have no idea what's going on. Whereas with an adaptation, you come into it, and it seems like everyone you talk to has a million opinions on the cast and the way the story should be told.
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I would prefer to work for directors who give me the script and written screenplay at the outset.
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I'm the only person who's ever opened the Oscars or done a spot on the Oscars without a script and having it on autocue.
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It's never a script that makes me decide to accept a film or not.
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You just knew you were in great hands with somebody so talented, so bright and with such depth. We both with Ellen Page loved the script and the book Into the Forest, which I read after I read the script, and highlighted it and dog-eared it to craziness.
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The script of Regression wasn't the draw for me. It was largely Alejandro Amenabar and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.
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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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So many times, you get a script and it says, "And then, the character cries," and you read the lines and think, "That would never make me cry. Those lines are so untruthful." My approach is just to be honest to the situation.
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EastEnders' keeps me so busy - that is where I'm at and I can't see that changing too soon. There's nothing that has quite got the punch of an 'EastEnders' script.
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In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
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I don't think I would be a good actor! People enjoyed 'Dancing With the Stars' because I was myself, and every time they told me to say something, I would say my own words, so I don't think I could follow a script well!
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I don't really say, 'Is this script Catholic or not?'. But if I find it to be immoral, or it doesn't sit right with me, which happens a lot these days because there's a lot of garbage being written... I'm like, 'I'm not doing this.'
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I've turned down all sorts of good things accidentally, too. I read the script for 'Eternal Sunshine Of The Spotless Mind' and thought, 'This makes no sense.' Then I went to the cinema to see it. Well, what an idiot.
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Usually I approach to acting completely blindfolded. I read the script, I connect to the character, and then I try not to think about it too much until I'm there and I'm in wardrobe and I'm with the other actors and we're going through the scene once.
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I wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.
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I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.
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When I'm writing a first draft of a script, I can disappear into that for two, three months exclusively.
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When you read a script, you get a feeling from it.
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As an actor, I would never agree if a newcomer doesn't give me a final word on the script. If it is well-written, then you need not speak to me. I will speak for you.
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I always knew that someone was going to come at me with a script to play God. It's just one of those things, the way your career is unfolding and all the talk about gravitas etc etc, so I had a strong feeling that someone was going to offer me the part of God. I was totally prepared to say, 'Thanks but no thanks,' unless it was a comedy.
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If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge.
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Once you've agreed the script, you must be willing to go as far as it needs to go on set.
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Years ago I was going to play Chet Baker in another movie and I really felt drawn to that character and the script is good and I met with Robert and we seemed simpatico and we developed. But I had a real passion for that role and that brought me deep into that film 'cause I got the sense that Robert Budreau was going to really let me be creative inside this part.
