I've been so lucky - I worked with Jason Reitman twice, who has always been a really strong advocate for my voice, and has always really respected the scripts that I've brought him and is just the coolest.
Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.
A lot of times, the script is the thing they care about least.
Lot of the scripts I've been in with other non-white actors haven't been great. Lot of non-white actors ain't all that great.
My idea of an actor is to be different persons with different roles. Every time a script interests me, I look for interesting characters because I intend to completely transport myself into it. This happens only because I am a very greedy actor. I am not part of the rat race because I am living a dream.
I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't.
When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.
Sometimes I want to do something that's really funny and other times I read an indie script that is going to be made for nothing but I want to do it because I think that I can connect with something in the story.
Eric Roberts, for all the criticism he gets, is at least having fun with the script. His decision to devour large swaths of scenery locate him firmly in the tradition of Graham Crowden and Joseph Furst. Which is to say that he's not destined for fan acclaim, but he's easy to like if you're of the mind to.
I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks.
This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
My criteria for doing theater has always been slightly different than my criteria with movies, in that there are a lot of reasons to do films, having to do with location, money, and first and foremost having to do with script and role and director.
Being the offspring of English teachers is a mixed blessing. When the film star says to you, on the air, 'It was a perfect script for she and I,' inside your head you hear, in the sarcastic voice of your late father, 'Perfect for she, eh? And perfect for I, also?'
My main source of reading is scripts, which doesn't leave a whole lot of room for books.
I'm a little older and fatter now, and I'm not exercising as much. My lifestyle these days involves a lot of beer and pasta. But there's something satisfying in letting your body go to hell. So maybe I won't get offered the same kind of role as before. So what? I'm happy to play the guy in his mid-30s who may be a little unhealthy. "Fat and arrogant" is what I'm bringing to the script.
That's the thing about prep, is that it's a joy to have it there and you can spend all this time prepping, but ultimately you have to look at your script and turn up on the day. It's embedded in there somewhere but you have to forget it all and play the scene because we are storytelling.
I think you have to be true to the script that you're given.
I read the script [ of 'Steve Jobs' movie ], and it was very, very good. I wasn't sure they would want me to be in the movie, but I auditioned for it. Which I hadn't done in a few years. But I had auditioned in the previous few years for another movie that I did not get the part. And so my track record wasn't good. But I really wanted to audition because I was worried that I was going to blow it, and I wanted it to be on them for choosing me.
When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.
The technology certainly changes. I think, in terms of making films, that's been the biggest change. But many things stay the same. I mean, there's still stories to be told. There are scripts that give you a good guide and insight into the film.
If the producer doesn't like you, consequently he reads the script with a very negative view. But I wouldn't preoccupy myself with that, I don't give a damn. You can be a hunchback and a dwarf and whatall.
I remember the first sale I made was a hundred and fifty dollars for a radio script, and, as poor as I was, I didn't cash the check for three months. I kept showing it to people.
I would guess that the price of the script really is secondary. The credit is much more the essence.
Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.
I think what's difficult is proving to people that a script actually does work and sometimes the laughter might not be on the page, it might be between the lines.
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