Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
It's got to be a challenge but at the same time you have to feel as though you can play them - it's really dangerous to want to be a part of something just because you think it's going to be great. I've been sent plenty of scripts where I've known that it's going to be a great film and a successful one, but I just couldn't convince myself that I was the right person for the part. So, I think you have to be careful with that.
I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.
It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit.
It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
Something like Shakespeare in Love, which became such an established hit that it now seems like a foregone conclusion... but it really wasn't. The script was around for a very, very long time and had people chickening out all the time.
I simply asked if I could have a go at adapting a screenplay. But I did not want any money, in case I failed because I did not want a script out there with my name on it that might be completely dysfunctional.
Nobody goes to a movie and watches the script. There is a lot of other stuff going on.
There are clues in the script... he will say "I think drugs are immoral"'... but the guy who says that kills, tortures, pimps and has whores working for him. There is this strange morality going on, which is rather like the Mafia.
In so many roles I've played the outsider. As an outsider, you have more energy to succeed simply because you are an outsider. There are scripts floating around but they're not coming my way and I think that I am getting a little bit too old to play Napoleon. But if I was ever offered the role I would grab it.
When I wrote Chuky script, I was a student at UCLA, an undergraduate and my biggest aspiration for it was that I would get my foot in a door somewhere, that I would get an agent or something and it was just beyond my wildest dreams that this big-time producer, David Kirschner.
My mom is a script supervisor. It's like the family business. It never had that feeling of entertainment. It was always more like, "Eh, it's just a movie," with that crew mentality, which is, "We've done it before and we can do it again."
I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.
I'm a great fan of Michael Mann and when he asked to see me I couldn't believe it. I was very happy. I met him and I read this beautiful script. I didn't know anything about Dillinger. I fell in love with the movie and Michael Mann.
Diablo Cody wasn't writing a script about a 16-year girl that got an abortion. She was writing a script about a 16-year old girl that got pregnant, decided to have the baby and give it to a young yuppy uptight couple for adoption. That's what the movie is about.
I didn't even think about it when I read the script and then shooting their movie and someone was like "boy, press is going to be fun". And I didn't really know what they were talking about because to me it's just a film shows it as an extremely viable option which is obviously the most important thing for young individuals.
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
You have that Frank Capra kind of side to it and the characters are really well drawn, so I think everybody tried their best to stay faithful to the script.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
Just play the moment, that's the fun of it. You just play the moment. It's great writing and very clever writing, I think it's witty. And I have those great clothes. You have a great, witty, intelligent script and you look like a million dollars, because we have a great costumer, and it's a pretty good place to begin.
It's really hard to find stuff that is original. You pick up scripts and in four pages you know where it's going and the same thing when you are sitting in a theatre, I just rejoice when something unfolds in a way that I'm not conducive.
If you just read Joseph Campbell, who has written amazing books on mythology and religion, they all do come together at some point. There are some of the greatest stories that there have ever been in the Bible. All you have to do is read the book of Maccabi, it's like a film script.
There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.
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!
It depends on the scripts and the character and just everybody involved, the other actors and directors. It's just a gut feeling when you find something, you're like, 'Yes, I want to sink my teeth into that.'
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