A Quote by John Krasinski
Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck.
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I read the script for Wonder Boys, and I said that was almost perfect, it was so classy, cool and funny. It's a really specific thing. We stuck to it, it turned out good and a lot of people liked it.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
You can’t divorce Margo the person from Margo the body. You can’t see one without seeing the other. You looked at Margo’s eyes and you saw both their blueness and their Margo-ness. In the end, you could not say that Margo Roth Spiegelman was fat, or that she was skinny, any more than you can say that the Eiffel Tower is or is not lonely. Margo’s beauty was a kind of sealed vessel of perfection – uncracked and uncrackable.
They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.
I love this script [The Hollars] because I'm lucky enough to come from a really tightknit family.
Our audience is all the girls who made Britney a huge star. Those are the girls who bought the book. I didn't read the book at first. I read the script just to see what I would think of the script and I really liked it.
I wrote a script, and I gave it to a guy who reads scripts, and he read it, and he liked it, but he said he thinks I ought to re-write it. I said, "Fuck that - I'll just make a copy!"
It's weird how an actor can read a script and think 'it's really good, it's really funny, that's going to be really dramatic...' and then you get there and say: "Oh, I have to get in it? I have to get in the water?! Are you kidding?"
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
Basically, if you could get a good trailer out of the script, Roger had no objection to you making a really good movie. He liked it if you did. He liked the more cleverness and ingenuity you could bring to it. He just wasn't going to give you any more money.
As we were negotiating, I didn't have a script. Once the deal is closed, they let you read the script. So, I got the script and was reading it like, "Oh, please be good!," because I'd already signed on the dotted line. And I read it and just went, "Okay, I'm going to be okay. Thank god!" It was a really funny, moving story.
A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do.
That doesn't sound like my Margo", she said, and I thought of my Margo, and all of us looking at her reflection in different funhouse mirrors.
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.
In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.
I'm gaga over Richard Jenkins.
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