Hillary Clinton is a dead fish when it comes to being entertaining and alive. Without a prompter and a written script, she's nothing.
Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late.
I have a background in theater. At the time I read The Loved Ones script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in A Streetcar Named Desire and Isabella in Measure for Measure.
Take a favorite trick of yours and write a 'gestures script' how could you improve clarity [using gestures].
I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.
I don't know, just scripts randomly appeal to me. I'm not looking specifically at any genre.
I don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney.
Ensure that your script is watertight. If it's not on the page, it will never magically appear on the screen.
I've seen [Lalla Ward] episodes of "Doctor Who." They're good, at least partly because the scripts were written by Douglas Adams.
Me and a friend literally had the idea for Wedding Crashers and pitched it, and it was already a script. They go, "That's funny! You should call it The Wedding Crashers." It was almost exactly like that .
With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.
Luckily the script [of X-files episode] was written wonderfully and that became who I was and I was quirky, and I was kind of agitated and not entirely happy, but at the same time, witty.
When I did The X-Files, there was certainly less of that because the script was as it was and it was such a wonderful script and it was quite complex and there wasn't a hell of a lot of improvising I could do to bring to the table, but I guess what I did bring was a sense of self and that the reason I was cast was because I did come across as someone who possibly was only human for a short time.
I don't see how a person can be sensuous - unless they're just, you know, following some kind of script - without being vulnerable.
The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.
My primary job is to choose the programs, either to co-produce them, or acquire them after they're finished. So, I read a lot of scripts, I meet with producers and I read a lot of books.
I've never committed to a role without a script.
I'm probably not very funny. The scripts just don't come in, or the ones that do aren't that good. I suppose I'm just an old drama queen, really.
With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you. It's much more interesting and challenging to go to it, rather than it coming to you.
The script - and a good one - tells you everything that you need to know.
I'm a big believer that the script is your bible.
I respond to a part just intuitively when I read a script.
I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.
In my early 20s, I didn't even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character.
I feel like I work on scripts for comedy as well as dramatic stuff the same.
