When you go on a movie set, there used to be one woman: script supervisor. Now they were in all capacities in addition to heading studios. So that's the biggest change of all from the early '50s, when I first started.
It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.
I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.
I don't know if the scripts are changing so much. I mean, I've been working for almost 25 years and made over 40 films and I worked with my first female director, on a feature, "Planetarium". And it's still the only one.
Some scripts you read and say, 'I've just got to do this' and you find a way of making it work. Some things you turn down because of the impact on family.
Manuscripts do not burn.
I'm always trying to work on scripts. I'm pretty selective. Sometimes maybe too much because I'm broke .
I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.
My thing is that most scripts arent bad scripts, theyre just not finished yet.
I had read enough mediocre scripts and was determined not to inflict another one on the world.
I'm a sucker for a funny script. And then, as soon as I don't wanna be, one comes along and grabs me.
I won't work on anyone's else's script. I won't write for anyone else. I write my own stuff and make that when the time is right.
Every time you get a script and you have a scene, you start mining out how many layers there are within it.
If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.
Being in front of the camera, you never got to see the whole process from the conception of the script all the way through to the filming process.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
Most scripts are bad. I read a lot of them.
Wait a minute, words in the prompter, script on my desk, vending machine upstairs out of Funyuns... the writers are back!
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.
Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.
I do whatever [comedies] I'm attracted to. It's like the woman who stands out in the crowd, who for some reason you notice, that's the one you're supposed to dance with at that time in your life. That's just what it is with scripts... they find you when you're emotionally in the right place to do them.
It's nice to finally get scripts offered to me that aren't the ones Tom Hanks wipes his butt with.
It was easier to do Shakespeare than a lot of modern movie scripts that are so poorly written.
I think you have to be true to the script that you're given.
It's never a script that makes me decide to accept a film or not.
