A Quote by Karen Allen
When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal.
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Every time I read a script, I see the movie in my head, and I try to see the best movie in my head because everybody interprets the movie differently.
Sometimes when it comes to the iconic kind of moments, when I read the script for the first time, you get little goose bumps or something because it really is kind of exciting.
When you see the floor and you understand the game and you're trying to break it down with what you have in front of you, you can do it offensively and defensively. And you try to take advantage of it both ways. You see where the offense's head is and you can kind of read what you want to do.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
Filmmaking is finding a piece of granite and you start to chip away and then you have the shape of a head, the shape of the arm, you can see the shape of the face and the face starts to gather character. You have to find it.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
Whenever I read a script or sign a film, I don't see whether he is a bad guy or a good guy. I see how much the character is contributing to the story? How much is the importance of the character in taking the story forward? And what new I would be able to learn and what new I would be able to try in that?
I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
I was in rehearsal and reading the script and I was like, 'Wait, wait, wait, wait. I think I'm related to Data,' which was crazy but that was really cool. Going back to watch' Next Generation' and getting to see Brent doing his thing and just how incredible he was and it was obvious to see why he was such a beloved character.
Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
Directing is kind of like acting through other people. You see moments and you see things and if you don't see the actors hit it, you paint in those little spaces and tell them what direction to go in.
Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.
I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.
Personally, I love going to see a film when you can really watch a character. If you've just read some article about who the actor is sleeping with, that's gonna be at the back of your mind all the time while you're watching the film.
People do not read first. First and foremost, they see color. Then they see numbers, then shape, and then, if you still have their attention and they understand what you put in front of them, then they will read.
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