A Quote by Geoffrey Rush
Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.'
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Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.
The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.
There are a lot of roles in Shakespeare, basically. If I feel that the script is a movie, I would be interested in doing any role of Shakespeare's.
Sometimes you're reading something, and you don't know it will be important in your life. You're reading this script, and you start to get involved. It's not an intellectual experience.
The power of reading a great book is that you start thinking like the author. For those magical moments while you are immersed in the forests of Arden, you are William Shakespeare; while you are shipwrecked on Treasure Island, you are Robert Louis Stevenson; while you are communing with nature at Walden, you are Henry David Thoreau. You start to think like they think, feel like they feel, and use imagination as they would. Their references become your own, and you carry these with you long after you've turned the last page.
I have a hard time with films that I feel like I can predict every twist or turn they take from the moment I start reading the script.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.
I generally don't walk out of films. If I start a book, and I don't love it by page 100, I will stop reading because it's just too much of a time commitment. But you never know with a movie what's going to turn around.
Shakespeare is one of the reasons I've stayed an actor. Sometimes I spend full days doing Shakespeare by myself, just for the joy of reading it, saying those words... I do Shakespeare when I am feeling a certain way.
I don't know if [Samuel] Beckett is something you ever bring to the beach - get out of the water, towel off, and start reading some of "The Unnamable." Although, because it's the kind of book you can open to any page and start reading, it is beach reading in that way.
Sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost.
Long before I fell in love with writing, I fell in love with reading. Sometimes, honestly, I feel like I'm cheating on my first love when I settle into my office chair to start work on the latest manuscript.
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