It's an ongoing process, in the script, on the set and in the editing room, to make sure you are being true to the emotion of the film without turning it into a melodrama, and making sure you're getting all the laughs you can without it turning into just some stupid comedy.
The role always attracts me. Sometimes I can read something and I can barely see the rest of the script.
But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show.
I think it's very rare, as an actor, that you get to a script, or an idea of a script, and you go, "Oh, I just have to do that!" It fell into place very quickly.
It was just hilarious how my first reaction was, "Oh, no, it's another vampire show. I'm not interested." And then, I read the script and thought it was brilliant.
When I read the script, I said to one of the producers, "I know you probably want Jonathan Harker really fluffy, but I'm not gonna do that. It needs to be a mask. There needs to be a duel between Harker and Dracula."
We read the [Dracula] scripts, but Jess [De Gouw] and I are completely taken out of the hunts and anything with Van Helsing. We're just living our lives, as our characters.
My older brother always tells me I changed as a person when I saw 'Ace Ventura.' Because when I saw 'Ace Ventura', I became obsessed. I watched the movie as many times as I had to - back then, you couldn't go on the Internet and find the script - so I watched it as many times as I could to write my own script of 'Ace Ventura.'
A lot of college graduates approach me about becoming screenwriters. I tell them, 'Do not become a screenwriter, become a journalist,' because journalists go into worlds that are not their own. Kids who go to Hollywood write coming-of-age stories for their first scripts, about what happened to them when they were sixteen. Then they write the summer camp script. At the age of twenty-three they haven't produced anything, and that's the end of the career.
My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel...
I'm a highly, highly, highly creative human being. I write music all the time. I write scripts constantly. I run my own production company. I'm also a very determined businesswoman. I've a town to deal with. I've got a lot of things to do and I don't have time to be classified as difficult, and I don't have time to care.
You shouldn't speak until you know what you're talking about. That's why I get uncomfortable with interviews. Reporters ask me what I feel China should do about Tibet. Who cares what I think China should do? I'm a f***ing actor! They hand me a script. I act. I'm here for entertainment, basically, when you whittle everything away. I'm a grown man who puts on makeup.
It's much harder to act in a bad film than in a good one. A terrible script makes for very difficult acting. You can win an Academy Award for some of the easiest acting in your career, made possible by a brilliant script.
Only a few of us will admit it, but actors will sometimes read a script like this: bullshit...bullshit...my part...blah, blah, blah...my part...bullshit.
Show me a bad script and I will show you a big payday.
When you make the film, there's a big difference between when you're in your own home at the typewriter, and when you're standing on a mountain, or on a street corner, and buses are coming by-it's a different reality. You make a million changes that were never in the script, but that reality dictates.
Fun, that's the word I keep on using. That's the word I worry about when other writer's scripts get too dark. Optimistic. Fun. And to be optimistic and have fun there's got to be a darkness there. I think that's a very British attitude.
Wait a minute, words in the prompter, script on my desk, vending machine upstairs out of Funyuns... the writers are back!
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
There is an ancient script that says, 'He that wishes to be ignorant, let him be ignorant.' But I took off the last word and it now reads for me like this: He that wishes to be ignorant, let him be!
The most important thing is the script.
I don't know how I absorb things, but I do. I just absorb them. I don't over read the script, and I don't really ever spend much time learning it.
The writing of the script is a continual process. There's the first draft and then many, many re-writes here and there.
Working in television, many times you read a script, you work on the pilot, and then you play the waiting game to see if you're able to make it a series.
The thing that I look for in a script- I'm not looking for anything next because you never know where life's going to take you so you can't just expect I want to do this next. So I'm not expecting anything, I'm just hoping.
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