A Quote by Cameron Diaz
Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.
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Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
A trick I picked up from reading Frank Miller scripts: ... He tended to always start his panel caps sometimes with a general noun and a verb. 'He weeps,' and then there'd be whatever else. And a couple of collaborators of mine have always said that the first sentence of my script is for them, and everything else that comes after is for me. Which is true, that's very much how I try to write. The first line is just to get the physical action down, and then I'll kind of drift off into whatever else I see in my head and they can take it or leave it.
The heart, in its journey to Allah, Majestic is He, is like that of a bird; Love is its head, and fear and hope are its two wings. When the head and two wings are sound, the bird flies gracefully; if the head is severed, the bird dies; if the bird loses one of its wings, it then becomes a target for every hunter or predator.
Lego was our fourth film, because we did two Cloudys, so yeah there's a little bit of shorthand that's involved and then you can anticipate things- because for me it's like, I get a script for a movie and I go, "Wow that's a pretty good script", then you sign on and a couple months later they show you the first cut and you're like, "Whoa, how did that happen?"
Music is one of those things that is constantly going in my head all the time. It's sort of like the evolution and creation of doing food, or my philosophy about wine. It's always beating in my head, so it keeps the spirit moving.
I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
I'm not afraid of doing anything. I have no fear. It's made me pretty confident in that I can have a plane flown over my head or I can go head-to-head with an alligator or with a python, and it's all okay and it's so fun.
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.
What gets yme excited about a project and character is the director, the script, who's involved in the movie, and the character. Those are pretty much the essentials. If it's something different, if it scares me, in a way, if it will stretch me or push me into certain places that I haven't been to, then I like that. If you're just trying to talk yourself into it, then it's probably not for you. It's hard to be selective.
The way I think about things or hear things in my head is actually much closer to acoustic instruments. I don't have weird synthesized fantasy of music in my head.
I think one thing that makes me delay projects more than other people is, I see this silver lining in a turn-down. Maybe if I just wrote a script and then pounded my head against all the doors, I would be shooting more films.
Roman Polanski actually said as much to me once. He had his head in his hands, and I said, "Roman, I've got to tell you, as an actor, seeing the director with his head in his hands... Look, I really want to do what you want me to do." And he went away and he came back, having obviously thought about what I said. And he said, "When my head is in my hands, I'm closing my eyes and trying to remember what I saw in my head, before any of the stuff."
As for the blood and the head business, the blood and the head work together and what is not first in the blood can sometimes reach it by going first through the head and what is wrong in the blood can sometimes be tempered by the head.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
First, draw off your hearts, because Jesus Christ, the Head, is risen and ascended upon high, and there sits at the right hand of His Father; and if the Head is in heaven, where should the members be but where the Head is? Shall Christ our Head be in heaven, and shall our hearts, which are His members, lie groveling on the ground and panting after the dust of the earth, making all our inquiry and labor after these? 'If Christ our Head be risen, seek those things that are above, where Christ sits at God's right hand.'
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