A Quote by Famke Janssen
Triple tonguing? It was sort of invented. It wasnt in the script. It was something that I came up with.
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Triple tonguing? It was sort of invented. It wasn't in the script. It was something that I came up with.
I was happy, I wasnt beaten, and I lacked nothing. But it wasnt what people expect - it was very much sort of pinching and scraping. I dont know how my mother did it.
I wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.
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.
You want to know why I am the perfect champion? Because you can take the strength of John Cena; the intelligence of Triple H; the desire of Cena; the athleticism of Triple H; the determination of Cena; the ruthlessness of Triple H... and if you combine these attributes into one person, you get Randy Orton. The only difference is that I have one thing that neither Cena nor Triple H has: the WWE Championship.
Because Hillary Clinton wants to double-up and triple-up on Obamacare, the numbers will go through the roof. Your taxes will double and triple, and in the end it's not affordable. You can't do it.
It wasnt until I was a sophomore in high school that I asked Mama if I could come into the kitchen and have her teach me how to cook something. Well, I wasnt in there five minutes before she said, OK, honey, you have to go now. I made her so nervous she was about ready to throw up. So I really didnt have an interest in being in the kitchen until after I was married, when I was 18. It didnt take me long to realize that Mama was not going to show up at my house every day and cook.
To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
In 'Cosmicomics,' I came close to science fiction - I was inspired by cosmological subjects and the workings of the universe and invented a character who was a sort of witness to everything that was happening inside the solar system.
It wasnt the greatest script in the world, but not many people can say theyve played a wicked king in a swashbuckling Arthurian special-effects monster movie.
It's a shame, but every time I get something scientific in the script, I read up to find out what I'm talking about - but then I'm on to the next script and it's forgotten.
When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.
I couldn't have invented crisps. ... I don't really want to be known as the man who invented crisps. ... I invented apples. ... I invented pandas, and caps. I invented soil.
We invented marriage. Couples invented marriage. We also invented divorce,mind you. And we invented infidelity,too, as well as romantic misery. In fact we invented the whole sloppy mess of love and intimacy and aversion and euphoria and failure. But most importantly of all, most subversively of all, most stubbornly of all, we invented privacy.
Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff.
It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.
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