A Quote by Christopher Mintz-Plasse
It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.
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Sometimes a person thinks he's attached to one thing and he's really attached to something else.
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.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
Transcendence or detachment, leaving the body, pure love, lack of jealousy-that's the vision we are given in our culture, generally, when we think of the highest thing. . . . Another way to look at it is that the aim of the person is not to be detached, but to be more attached-to be attached to working; to be attached to making chairs or something that helps everyone; to be attached to beauty; to be attached to music.
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've never felt terribly attached to acting because I always feel like the world is really big and really interesting, and there are a lot of places that I can put my energy and be fulfilled.
Sometimes when people are attached to a project, they need persuading to stay attached, and then, in retrospect, they're not the right person.
I really try my best not to get attached to a script, because I know what it takes: It takes you away from your family and what you like to do.
You get attached to the way you write, and I'm attached to notebooks. That's where I really write the plays. Just two or three pages at a time, then I transfer to the typewriter and rewrite while I type.
To be unattached is not to renounce the world. If you renounce the world you are attached to the world; otherwise why should you renounce it? What is the point in renouncing it if you are not attached to it? Only attachment renounces. If you are really non-attached there is no question of any renunciation.
If soldiers are punished before they have grown attached to you, they will not prove submissive; and, unless submissive, then will be practically useless. If, when the soldiers have become attached to you, punishments are not enforced, they will still be unless.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
It'll take me a lot longer to read a script if there's no director attached.
You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.
I read the script for 'Somnia' when I was filming 'Oculus,' and I remember calling my manager going, 'I really need to do this movie,' and he's like, 'How about you finish this one first and then you see it?' I was like, 'I don't need to. I don't need to. You need to read this. I need to do this movie. The script is very good.'
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