A Quote by Holly Hunter
Sometimes it's the script or an opportunity to work with an incredible director.
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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.
'Hester Street' was an incredible opportunity for me. That script was such an incredible script.
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.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
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.
Part of why I wanted to produce was because I wanted the opportunity to work on projects I want to see. As a writer and as a director, I'm very specific about the kinds of things that I want to do. The opportunity that producing has given me is that by working with different writers and trying to get their movies made, or developing their script, or making their movies, every time I'm doing it, I'm learning and then bringing something to my own work. I like to think that there's a little bit of back and forth that goes on.
Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.
Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.
As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.
The work of the director is the work of constructing the shot list from the script.
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.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
I really saw Pat Brady, Kelsey Grammer's character's point of view that it's a business. It's show business. So, it was an incredible opportunity to work with really wonderful creatives and the script was fantastic. What was so interesting to me about the studio system was that a lot of the politics that were in play then are so really relevant to today.
If you think you don't want to play another psychopath, but the script is amazing, and the director is fantastic, and the story is incredible, then you may end up playing your third psychopath in a row.
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.
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