A Quote by Albert Finney
When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.
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The woman who wrote the movie [Ladies And Gentlemen, The Fabulous Stains], her name is Nancy Dowd. She's a wonderful writer. She wrote Coming Home. And when I read the script, at that time, I thought, "This movie is going to do for girls what Breaking Away did for boys." I thought it was going to be huge. It was a great script.
Honestly, Think Like a Man was the first romantic comedy that I liked. I'd kind of avoided them for awhile because I never felt that any of them were really smart enough. But when I read this script, I genuinely fell in love with the characters, especially my own. So, I just wanted to be a part of it.
The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good I remember thinking, 'Oh, this script is too good. They'll never give it to me.'
The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good... I remember thinking, 'Oh, this script is too good. They'll never give it to me.'
I usually decide if I'm going to do a movie based on if I like the script or not. I thought 'Pulling Strings' had every single element that a classic romantic comedy needs to be a success. It's very well written. The cast was amazing. It was a decision I made based on the power of the script.
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at 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.
When I read the script for '90210,' I thought, 'Boy, this is very superficial,' and it was. I mean, the pilot was all about the glitz and the glamour of Beverly Hills, the obnoxious kids, and the fish-out-of-water story of Brenda and Brandon Walsh. I couldn't discern from that first script that the show would become very issue-oriented.
They didn't send me the script for Scary Movie 4 because the script was very secretive. So I never did get one actually. But it is David Zucker and there is complete trust. So I read my scenes and I thought they were really funny. I thought it would be a riot to play the blind girl.
A friend of mine wrote a script, a feminist romantic comedy. She had a feminist scholar consult on it. My friend said, 'Oh, my friend Gillian read it and really loved it.' She goes, 'Gillian Jacobs, you mean: Britta Perry, feminist icon?'
A friend of mine wrote a script, a feminist romantic comedy. She had a feminist scholar consult on it. My friend said, "Oh, my friend Gillian read it and really loved it." She goes, "Gillian Jacobs, you mean: Britta Perry, feminist icon?"
When I first read the script to 'Black Hawk Down,' I didn't think it was the greatest thing in the world - far from it. But I thought the script at least raised some very important questions that are missing from the final product.
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.
It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever.
I think Memento movie was hard because people didn't get it, they just didn't understand it. Not from the stage when we read the script and liked it. It's sort of a famous story now how we finished the movie and showed it to distributors and nobody wanted it. So it wasn't just they didn't get the script, they really didn't even understand the movie when it was done. But I think that was a particularly hard one. I don't think it was harder because we were girls, but I do think obviously there are particular challenges to working in a male-dominated industry.
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