"Stuffed and Unstrung" started as a workshop, actually, classes within our company. We found that our puppeteers were not ad libbing as well as traditionally, Jim Henson Company puppeteers have. We're sort of famous for going off script a little bit and ad libbing.
In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.
Because I've been at it so long and very steadily, I have a lot of credits, but I probably have twice as many scripts that were never made for whatever reason.
Harry [ Hannigan] and Chris [Ellis] are sitting there while we're doing [ Fresh Hell], and Chris is directing, obviously, but if we start fooling around a little bit, Harry comes in, and he's got some addition that makes it even funnier. But we start with a complete script.
I always write the script by myself.
I don't have a stack of scripts...
I don't watch scary movies. Sometimes, even having to read the script and do an episode of 'Grimm', I get a little tense because I know someone's going to jump out of somewhere.
I really like acting but, just now, the more I read a script I find myself thinking I'd like to direct rather than act.
I know it's boring to say this but I always start with the script. I mean if it's well written and it's a character that I haven't necessarily played before.
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
If you have a good script, that's what gets you involved. It's harder to write a good screenplay than to find something.
People recognize me, I have scripts, and auditions. And I meet great people.
Sometimes my scripts get so dissolved, and they're so different from when I wrote them originally, that I find it hard to find what I wrote in it.
I read a lot of scripts, so I know by page 25 if I like it or not.
Nobody goes to a movie and watches the script. There is a lot of other stuff going on.
I practice reading all the time. I read everything and having so many scripts to read, which really helps out as well.
I knew her work very well and I knew that if she offered me a role in her movie, it wouldn't be something stupid. So I agreed to do the film before I read the script.
I love reading scripts and offering notes and opinions. I'd like to be an advocate for the emerging filmmakers whom I'm working with.
I wake up to an email from the writers with the new script, and I always get so excited because I know it'll be better all-around than the script from the week before.
I've always just shown up to set and said the lines, [but] I want to help develop scripts and help cast and help bring a visual tone to something.
It makes a world of difference when you start with an amazing script.
All the films I do, I write the scripts, I direct.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
I've received some English-speaking scripts, but I was not interested in them.
Usually, I read the script very often. I think that everything is hiding in the script.
