A Quote by Aaron Taylor-Johnson
Whenever I read a script, I start recasting the role that I might play. I'm like, 'God, this should be played by Domhnall Gleeson, not me.'
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I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
I'm not really looking for anything. I don't really have a dream role that I'd like to play. When I read a script - I guess it's quite interesting, especially with theater - I get a sense about it. It's in my body: I sweat when I read a play.
I've never played a manipulative, drug-smuggling lesbian before. For me, it's pushing me in an area that's great. There are days when I'd read the script and I'd be like, "Oh, God, I can't believe I have to do that."
"Be Right Back," in which Hayley Atwell brings Domhnall Gleeson back from the dead using his social-media profile, sprang out of an unrelated conversation. Other stories you thrash away at for weeks and weeks.
When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.
As we were negotiating, I didn't have a script. Once the deal is closed, they let you read the script. So, I got the script and was reading it like, "Oh, please be good!," because I'd already signed on the dotted line. And I read it and just went, "Okay, I'm going to be okay. Thank god!" It was a really funny, moving story.
I read an interview with Mark Wahlberg, and he was like, ‘I might read a script and love it, but it’s all about the filmmaker.’ I think that’s a good lesson for me.
Faith has played a major role in my life. Whenever I feel an obstacle is too great, I can always go to God in prayer and He'll help me through it.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
When I read a script, I'll have a very visceral gut reaction to what does this mean to me? How does she feel in my skin? Could I play this role?
Whenever I get a script I skip from the leading role to the second or third friend as I think, 'no one famous will want that so I might get it!'
Normally, when I read a script, it takes me two and a half hours. I usually put it down and come back to it. So, I know if I can read a script in one sitting, it's a fantastic script.
I never ever played the lead role in a play, except at school. I guess the industry that we're in, boys that look like me don't get the lead role.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Whenever you trace the origin of a skill or practices which played a crucial role in the ascent of man, we usually reach the realm of play.
Many times, I like to read the script before I even know who they want me to play, so I can read it and really enjoy it as an audience member. I think that's given me the ability to ferret out the really special scripts from all the rest.
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