Every time I get a script in my inbox, it's like a little Christmas present. It's so exciting to see what they've cooked up.
As an actor, I know immediately if I'm saying a word that doesn't feel right coming out of my mouth, and I know how to change it. But as a director watching something, or even as a writer reading a script, sometimes it's not always clear what needs to be fixed.
I'm a big believer in rehearsal and a big believer in the actors being able to find the material themselves and identify with the beats themselves without us having to stick to the actual language of the script, just for them to understand what each scene is about.
I've really been very focused on 'Jessica Jones.' Our series was well on its way to being created by the time we even saw scripts from 'Daredevil,' and 'Luke Cage' didn't even have a showrunner hired then. Jeph Loeb [Marvel TV boss] is the master of the connective tissue, but each series exists in its own world.
You can always find ways to make it different, as long as it's a really well-written script and well-written character.
Because I've been at it so long and very steadily, I have a lot of credits, but I probably have twice as many scripts that were never made for whatever reason.
In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.
It's always once the script's done in the first two years if it doesn't get going somehow or another, I've never had an old script that someone's made later on.
I sort of have a dog-minded single strategy but I am a little more open to stuff that's out there, now and looking at scripts in the world and seeing if something that already exists can spark my interest and my curiosity.
When Kirk dies it was very emotional and very strange, in the moment and all the way through the process. I'd read it in the script and I'd always be struck by what I'd just done and what we were doing, and that this was my childhood hero and I was writing his death.
I think that's all you can hope for as an actor when you read a script; that after the first thirty pages it has some meaning to it.
Here's the thing - you can't be careful about what you pick because what looks like on paper is going to be a great script has often turned out to be a disaster, so there's no way to know what's going to work or to pick the right thing.
I'll put it this way, there was no C.P. Kennedy, there was no Dwight Dickham, we never went in the courtroom. That was the script I got. The affliction that the judge is suffering from was completely different.
Every single time I read a script I'm breathless as I turn the pages.
I feel like, as a filmmaker, I'm at my strongest when I write the script and when it comes from me, out of whole cloth. My best work has always been self-generated.
I think there's something fun about television where, as an actor, when you read the script each week, it's like how the audience experiences watching the show each week.
It's fun to get the script every Monday morning and go, "Cool!" I'm a professional actor, but I'm also a professional story lover. I get off on that thrill.
The strength of the script, for me, was that you're really left, right till the end, to know what's happening. This seemingly perfect, happy, kooky real relationship slowly turns into something horrifying, but you get there through a filter of reality with all of it.
When you have great scripts, everything is very easy and fun.
Well, I mean, the original is certainly the jump-off, it certainly is what it is, you know, I grew up around that era so I watched all those shows. The basic concept is there, it's just a different movie. Totally different actors, different filmmakers, different script, but same concept.
It's always so much fun to create backstory. Even if there are more clues in the script, you still always have to invent a lot for yourself. I think that comes naturally.
I didn't really know much about the Houdinis when I started. As soon as they sent me the script, I wanted to find out everything I could about Bess. Luckily, I have a really wonderful friend named Michael Mitnick, who's a writer. He was a magician as a child, and that led him to the theater, which led to drama school, and he writes films now. Magic was really his thing, growing up, so he put me in touch with his magic teacher who is a real Houdini expert.
I saw a lot of that. It made me uncomfortable. He's been studying me. We don't just sit down and talk, he's actually studying me. It makes me a little uncomfortable being under that microscope. But I think Eric [Bana] immured himself wight he script and is doing what he needed to do
The way it works in commercials is they come to you with the script and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it, and you're interpretation of it, but it's very much the agency's idea.
I don't think the written word is important in movies anymore and the really great movies are done by great directors who in many cases write their own scripts. I think it's gotten to be more of a visual thing than an audible thing.
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