A Quote by Kay Panabaker
A lot of the time, I won't read the script until my second or third audition just 'cause a lot of the scripts are the same and the characters are the same.
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As an actor, you read so many scripts and parts written for Asian-specific characters, and you see a lot of stereotypes and a lot of one-note characters, especially in comedy.
When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.
In a sense, all actors are character actors, because we're all playing different characters. But a lot of the time - and I don't know, because I'm not a writer - but writers a lot of times write second- and third-tier characters better than they write primary characters. I guess they're more fun.
I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact.
It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
To try to create a character without a whole lot of information can be taxing. At the same time, it's fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.
The difference between the first time I read something and the tenth time I read something is generally pretty profound. Even if the script is the same, just the way that I read it is different.
I don't intentionally try to find the scripts with unattractive characters, but I think that if a character is described in a script as heart-stoppingly beautiful, and there's nothing else said about her, it just doesn't hold a lot of interest for me.
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
I read a lot, but at the same time I'm not a particularly good or diligent or discriminating reader. I go through maybe close to a thousand or more books a year, but a lot of times I'll only read bits and pieces of any one individual text.
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."
For me, I just like to be as fun as possible, but I do like to bring a lot to a character. Given the script or the show, I know my boundaries, limits, and how far I can go with it. As far as me choosing these characters that have a lot of personality, I don't necessarily think it's intentional. I just think that I try and come up with a backstory of who they are, depending on the script or how rounded these characters are, and just go from there.
A lot of guys come out, and they do the exact same thing, are in the exact same mood, and have the exact same entrance every night, I really just make up a lot of crap as I go along.
You have to read scripts and audition and develop relationships. It takes a long time to develop a body of work but over the last 25 years I guess I've done that many movies. In hindsight it may seem effortless, but there's a lot of work that goes into it.
I just felt like, you know, I read a lot of scripts out in L.A., out here in the industry and I just felt like this film was just being genuine. I just felt like it had really great characters. And all the three different characters have completely different stories and they're all kind of intertwined together thematically. So I just thought it had great characters, great themes
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