I didn't watch any films. This film, The Proposal, had it all in the script. Once all the pieces, once I met Anne Fletcher and I knew what she wanted and that we wanted the same things, and once they said Ryan Reynolds was on board and once the casting came together, you saw what it wanted to be.
In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct.
Whatever character you're playing you have to complete the entire interior infrastructure, whatever it is - but what gets divulged or what people completely understand depends on the script and what you decide to show. But you have to know it.
The script is really always the main attraction, and then there's whether there is an interesting character and great people around you. Those are the key elements that I look for.
Living here in California, I think one of the scariest things about California is the fact that it is rewriting its script and changing constantly and so many people don't know who they will be and who they will be with a year from now.
I think every job you have to lie to get. You always say how wonderful it all is, that it's an amazing script - "I love you, you're such a great director." I think every actor does that.
I think being on a show like Game of Thrones for six years, I've gone through that whole hype thing, and I know that it doesn't do you any good creatively. You've just got to stay focused on the character and the script and your work. As humble and as grateful as I am for so many people watching it, and that there's so much love and attention, it's best for my own sanity and creativeness to try and keep that at bay.
There are some filmmakers like the Coen brothers that are very precise. They make shooting boards, they do it shot by shot, and they follow every single line in their own script. They make amazing movies, and I admire them so much, but I can't do that. I have no idea how the movie will exactly be. While shooting, I just try to create an accident that I don't control very well - grabbing things from different sources and ideas, and then having a sensation somewhere that it will make sense.
I don't think comedy is something you learn. I think it's something that's either there or it's not. When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.
I loved Married With Children. That was the job that against all odds - you know, when I first read the script, I thought, "No one will ever watch this, but I think this is so fun." So I was really happy to be involved in it. And we laughed every single day. It was the funniest 11 years. We really, really enjoyed it.
I hope to be involved in a successful movie script.
I am a quick study - I can memorize a script in an hour - but I can't remember a name three seconds. I've even forgotten my wife's name on occasion.
The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.
I read a lot of scripts that I just don't find very funny.
The only thing approaching art in a movie is the script.
Whatever happens in my life from now on, I know the day I finally die - the final act of my script - people will always make references to the work I’ve done with Almodóvar.
Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.
If I get a script that's set in the jungle it goes to the bottom of the pile because I don't think the playgrounds are going to be very good there! I'm really aware of how lucky I am but I have the kind of job where I can bring my child to work.
If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.
You don't improvise with a Cameron Crowe script.
With proper acting, I don't know what I would play - I got sent a script for a play, and it said in the notes that my proposed character was 'hideously fat and ugly'. That made my day. I mean, I do know I am no oil painting.
My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me.
My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that. The reason I do that is because I know what it takes once I engage, what that means for me personally and for my wife.
If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
I wouldn't know a good script if it bit me in the face.
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