A Quote by John Cleese
On movies, I like to involve the cast in the writing of the script. I like to have a rehearsal period, after which I do the last draft, which gives me a chance to incorporate anything the actors have come up with during the rehearsal period, so I'm very inclusive as a writer.
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For writers that rehearsal period is death. It is the most destructive thing of all to a script.
We rehearsed our 'Scarface' to the nines. Long period of rehearsal, so that by the time we started to shoot, it was almost like doing a play. We all had a grand time doing it. It was a wonderful cast.
Something I learned as an actor was which scenes needed to be rehearsed and which actors are good with rehearsal, which actors learn from it, and which ones grow stale because they start to second-guess themselves.
I maintain that the period during the first half of the 1990s, the period in which rising inequality reached its peak, was a period in which we came very, very close to a demagogic immobilization of racism in this society.
The first draft is just a skeleton-just bare bones. It's like the very first rehearsal of a play, where the director moves the actors around mechanically to get a feel of the action.
The great thing about doing a play is you get this rehearsal period, which you don't get with most film and television roles.
There were a few things that, in rehearsal, any one of us might try. [John] Hughes would go, "I like that," to me spitting up in the air and catching it in my mouth. It was just something I did in a rehearsal and Molly [ Ringwald] went, "Ewww." And John went, "Can you do that again?" And I went all day long, and he was like, "Okay, let's do that."
Any rehearsal process - I find, anyway - does have quite an effect on me, and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space, I can come right back out of it again.
For me the rehearsal period is the part I most enjoy. It's the creating of the story.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
Certain movies like 'Wag The Dog,' we used improv on every scene that we did. Pretty much, we would shoot from the script and then some stuff that we came up with in rehearsal, and then we'd have at least one or two takes where we completely went off the script and just flew by the seat of our pants.
You have formal rehearsal, a lot of things you don't have in movies - which is, you have to formally rehearse. You have to know your back story, discuss it, and almost everybody onstage has to know each other's [story], so that when it comes time to actually do it, you can throw it all away. That's the way I like to - and I didn't realize until very recently - that's the way I like to prepare for movies.
The rehearsal period is so far away from the time when the scene will actually be shot that very little is remembered.
No question that 'Birdman' is a breathtaking technical achievement, not a stunt. Shot in 30 days after a long rehearsal period, with the actors' and the camera's movements calibrated to the inch and the millisecond so the action flows smoothly, the picture has the jagged energy of a long guerrilla raid choreographed by Bob Fosse.
First, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.
I like to work and there's no movies for actors, period, especially black actors. When white actors are like, 'Man, there's no work out there,' then black actors are like, 'Are you kidding me?'
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