A Quote by Andie MacDowell
When the children were little, I'd fly into L.A. for a specific work project, but then I'd leave again, and when I was home, I wouldn't even read a script.
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I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it.
Leave home, leave the country, leave the familiar. Only then can routine experience--buying bread, eating vegetables, even saying hello--become new all over again.
When I'd read the script [The Man], [ Eugene Levy] that's who I'd seen in my mind. When I ran into him, I said to him, 'I read the script. You'd be great.' He had no idea what I was talking about. Then, we saw each other again in London. He'd read it and was enthused about it.
After reading ... accounts ... of minor accidents of light, it is little wonder that the average man would far rather watch someone else fly and read of the narrow escapes from death when some pilot has had a forced landing or a blowout, than to ride himself. Even in the postwar days of now obsolete equipment, nearly all of the serious accidents were caused by inexperienced pilots who where then allowed to fly or attempt to fly-without license or restrictions about anything they could coax into the air.
Since then, I have just read and read - but, that said, I suppose there is a raft of writers to whom I return again and again, not so much because I want to write like them, even if I were capable of it, but simply for a sort of stylistic shot in the arm.
If I read the right script, if that script needs $5 million, if that script needs $50 million, I don't care. If I read a project that's beautiful, that I really want to make, whatever it needs, it needs.
The way I work, and the material we work with, I think if you analyze too much and have too many specific ideas, it just becomes a little bit too superficial, and then performances might become too self-conscious and project relatively narrow things.
I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.
Ideas about mothers have swung historically with the roles of women. When women were needed to work the fields or shops, experts claimed that children didn't need them much. Mothers, who might be too soft and sentimental, could even be bad for children's character development. But when men left home during the Industrial Revolution to work elsewhere, women were "needed" at home. The cult of domesticity and motherhood became a virtue that kept women in their place.
I'm a big believer of work/life balance. You need a little down time to recharge to make sure that when you're here, you're really all here. I still have a child in high school, so I go to her sporting events, even if it means leaving work and working again when I get home. I probably should work out a little more than I do.
They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.
The sanserif only seems to be the simpler script. It is a form that was violently reduced for little children. For adults it is more difficult to read than serifed roman type, whose serifs were never meant to be ornamental.
I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work.
I wrote the script to 'Lady Bird,' and it really came out of a desire to make a project about home - like, what the meaning of home is, and place. I knew Sacramento very well, obviously, growing up there, and I felt like the right way to tell a story of a place was through a person who's about to leave it.
When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.
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.
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