I don’t have tons of scripts where I don’t know what to choose and I’m trying to calculate. It’s either I read something and I have an impulse to do it, or in meeting someone, I want to work with them, but it’s always been very obvious.
I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."
I don't want to take all the time. I just want to do what you wrote and let me go from there. I don't want to miss something. You know, I'm not really a writer per se, but I can write. But I can't put a script together like they can.
In the beginning this was just an idea. Then it was a short story. Then it was a script. Each step was pretty exciting to see people come on board to support the project. It's gratifying to know that more people are seeing my work in this form than my work as a playwright. And it's been fun to hear people's response to seeing it. I've been having some deep conversations with strangers and friends about how much it has made them think about slavery and its impact today.
In fact, now for whatever reason, if we're recording in the same room, I get a little distracted because I'm watching the actor instead of listening to the actor. The way we do it now, they're on the phone, and we're sitting here with scripts in front of us taking notes seriously and marking takes and doing some adlibs. I can really focus on the words and not the surroundings.
I think probably the best example was the year Jack Palance dropped down and gave us push-ups when he accepted his award for supporting actor. Then we got to throw away a lot of the script because we just did Jack Palance jokes, because it was just too delicious, watching this old man carry on like that.
I've never taken a script to the stage or to principal photography and said, "This is perfect. This is as good as it can possibly be." It's not Shakespeare, you know; you know it can probably be better.
Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want.
I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.
For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.
I come in as an actor, having read through the script a few times, made a couple of character-choices, thinking I'm going to be working on it during rehearsals. It's very different. It takes a while we're always like dogs sniffing each other's asses.
My dream roles haven't been written yet. My favorite thing to do is to dive into the uncharted territories of a new script that's untainted by someone else's idea of the character.
I have always been interested in theatre and after reading the script for THE INFLICTION OF CRUELTY, I thought that being part of this show and the Fringe would be a great experience.
What I ended up doing was kind of crafting an idea for a story, presenting it to a writer - a dear friend of mine, Brad Mirman - and he ended up writing a beautiful script. I should've done that a lot earlier.
My music doesn't exist in a vacuum; there's a script and there's an actor and it's about to come together.
One reads many scripts, and some of them are good and some of them are not, but every now and then, one really grabs you. You simply can't put it down.
At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie.
Nira Park, who is my longtime producer and friend - I've know her since we did Spaced, the TV show - she gave me this script the last day of filming The World's End. She said, "Take a look at this. It's filming in London next year, and you might like to look at Jack." I trust Nira implicitly.
When I read a script, I am already in the movie with my music, and I can dive into a world that I haven't seen before.
When I read the script [of Good Kill], it read like a science fiction film. And Andrew [writer/director Andrew Niccol] is known for sci-fi. But when I spoke to him, he said this picture was 100% factual, which blew my mind. I realized then how little I knew about the drone program. And I felt that, if I knew so little about it, there must be others who should be educated about what's going on.
It kind of varies. I don’t have a method yet. It depends on the script and the character I think I need. I’ve worked with acting coaches, researched roles, and channeled different parts of myself. It’s on a case-by-case for me, right now.
I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.
I feel lucky that Viceland wanted to make it, and I'm producing more than one film with LGBT characters and stories and it's because it's what I'm interested in. I'm not going to read a script and say, 'They're not gay, I'm not going to do it,' but I am interested in playing more gay people, because I've only played one gay person, and I've done a fair amount of movies, and I am interested in those stories. So for me, there's no should-I-or-shouldn't-I. It all feels natural.
I hadn't read or heard a lot about [Tom] Wolfe until I read this script, and in that way I think it was really clever to write a piece about him instead of Max Perkins,[Ernest] Hemingway, [John] Fitzgerald, or others that people have strong opinions of already.
For years I've wanted to work with this guy, so to actually write at the top of my scripts "Empress, Script by Mark Millar, Art by Stuart Immonen" is an absolute pleasure.
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