There has to be this balance of reality for a woman. I don't want to play women who just serve a purpose for the script.
With my first book, I was hired to write a draft of the script. I was so young and less confident. They put me through seven or eight drafts and it was just getting worse and worse, and then the film was never made.
When you get to really involve yourself with a piece [script] and the other people and you get to feel like it's a community and you're all building something together, it helps me to produce better work, I think. And there's an exhaustion that happens on a film set - an exhaustion that translates into a relaxation and helps me to live in the moment, in the performance I'm giving and what's happening around me.
I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor.
There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations.
My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.
It's rare that a good writer will sit down and write a good script. Writers are greedy too, and they don't want to work without getting paid. But quality will find its way out.
The best scripts I read are usually pretty - they move really quickly, there's not a lot of exposition in between all of what's happening, so you can really just flow with the lines, and you're reading and it has a momentum and you understand it emotionally.
I thought one way to try to hold on to the power was to write the script myself. That way, I could say to filmmakers, "I'm not asking you to hire me unseen. I'm just saying, 'Here's my script. Can we work together?'" So that worked out well.
Lots of scripts are written and not made, even scripts that people want to make.
I want to keep working. I want to step away from young adult fiction. I want to do theater periodically - Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
I read a lot of scripts. I believe you've got to read one that you know you're not going to do, because you've got to educate yourself on what's out there to make the best decision for you.
I am not a fan of improvisation, because it bores me. Working off a tight scenario gives you the confidence and ability to - why don't we change this a little bit and bring it back to the script. You always discover things while shooting.
I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.
Usually the script is much more funny than the film turns out to be, in my case. The script is almost like a comic book but when you start making it, for some reason the film gets very serious.
Directing is a reactionary job more than a creation job. The job is to react whether it's moment one, the first time you read the script or see an article or read a book or notice something happen on the street and have an idea for a movie, and it just continues from there on in. You're just reacting to dialogue, a performance, an audition, a headache, a piece of furniture, a piece of clothing.
When doing a revival, you have a lot of people asking you questions about someone who played it before, and to me that's neither here nor there - it has no bearing on the material that I have to use. The material that is written down in a score and script that the writers originally used is what I use.
For me there's always a line or two in a script, when you hit it you almost decide to do the whole movie off a line or two. You almost do it for the fun of getting to say a line or two like that. I don't have any specific plans, you know. I mean, if Seth Rogen calls with a great buddy pic, I'll be there.
Doing a film and saying, I've done a really dark film and now I have to do a comedy... That's not me. If a script comes along and it's dark I'll absolutely do it and take the consequences. I'm not fussed about the image that goes along with it.
I just believe in the movie. I don't care what the book was like. I don't care what the previous film was like or other films were like. I care only about the script I've got.
When you're dealing with TV and with movies, people dont take it as serious as they do with music. If a rapper does a song about shooting people on the block, and goes into a restaurant or grocery store, people grab their purses because they're afraid the person is violent. With TV and movies, people know it's okay, it's just a script.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it.
When you're tied to one show, you are very much at the mercy of the writers so you can suddenly get a script where you have a heart attack and die. I've got to be in The Guinness Book of World Records for having the most heart attacks on television.
hen Baillie [Walsh, writer and director] wrote the movie for me I wasn't doing what I'm doing today, so when we actually came to make the movie it seemed silly to change it. But who knows? That's the way things go. What was interesting for me - and what was always interesting in the script - was that you've got someone who appears to have everything, or at least has the opportunity to have everything, and he's f**ked it up, or lost it.
There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.
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