I write scripts to serve as skeletons awaiting the flesh and sinew of images.
My closet is full of sad little scripts that didn't get made that have sad endings. It's very hard to get a movie made that has a sad ending.
To be honest I don't watch the show, I don't watch any TV, so I have no idea what the show is about. I go to Hawaii, shot my scenes and script and 'Ciao.' I'm not a 'Lost' fanatic and it's a disappointment for thousands people and friends that are dying to know what will happen. They know more than me.
I was a novelist first. But in the mid 80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, you know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.
If the script's good, everything you need is in there. I just try and feel it, and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorizing rather than being real. Maybe every other actor would think that was terrible, I don't know. But it seems to have worked for me, so far.
You stick to the script, the script is Bible.
Inspired music arises from an inspired movie which arises from an inspired script.
If I were actually Homer Simpson, I'd be getting scripts out the wazoo.
I've auctioned off many scripts and will continue to do so for good causes.
What is the right time [to discuss theology]? Whenever we are free from the mire and noise without, and our commanding faculty is not confused by illusory, wandering images, leading us, as it were, to mix fine script with ugly scrawling, or sweet-smelling scent with slime. We need actually 'to be still' (Ps. 46:10) in order to know God, and when we receive the opportunity, 'to judge uprightly' (Ps. 75:2) in theology.
When what's around you - such as scripts, or like me being on the show and playing 18, now me doing this film playing 18 - it's kind of been what's been there for me.
All of the good movies are based on how that story was told. And you cannot do it with a bad script, that's for sure, no matter who.
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
You have the capacity to change the plotline of your life, even if you've been acting from the same script since before you can remember.
I practice reading all the time. I read everything and having so many scripts to read, which really helps out as well.
Acting, films, scripts, is literally the only thing I’m 100 percent confident in. I know what I’m doing. I just understand it, and I love it. When I’m on set, that’s when I feel the most at home and in control.
There are so many scripts and they are fantastic. I think I would like to do something different, maybe something smaller.
Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.
I'm not staying away from any genre. I'm trying to get scripts that I like.
When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel.
When I was 16, I got 'Jamon, Jamon.' Of course, I had to lie about my age. And I had to lie to my parents about the content of the script.
I try to look at the whole thing and say 'yes' to the projects that I cannot stop thinking about. If I read a script and the subject stays with me - then that's when I want to go to work.
The Lord Chamberlin was censoring scripts when I first came into the theater.
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