A Quote by Dennis Farina
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
Related Quotes
I always read the script, try to imagine myself in the role, then decide whether I have anything to give to the part. If you don't feel like that in the beginning, it is not going to go well.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.
Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.
Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing cause anything can change in a script.
The first thing I do with any script is read it and try to visualize if I can play the character - if I can feel what the character's feeling.
You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.
I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
Whenever I do something, particularly if it's a cameo, I make sure that I have a backstory written out so that I can talk to the director intelligent and try to communicate a three-dimensional character.
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.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
Everytime I read a script now, I am able to imagine my character in multiple ways, which I present to the director or the writer, and we take it on from there.
I don't start a song with an idea of what ingredients are going to go into a song. It's not like a recipe. I will normally either talk from personal experience or I'll make a character and then try to allow that character to behave the way he or she naturally would.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
I read the script and decide if a particular character looks fun to play. I look for complexity and a sense of humor. Those are crucial, real things to life.
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