A Quote by Keira Knightley
It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
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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 film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
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.
Film sets are a strange place, but an exciting place. I do love my work; I really enjoy going to work. But if you just spend all your time on film sets or even on stage, you can become a Michael Jackson figure, living in your own little universe.
Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.
I'd love to have written a film and it to be regarded as good. I'd just like to be doing things that are good, really. I think that's all you can aim for. I find it odd when actors say they just want to do films or plays or television. A lot of films aren't very good; a lot of television isn't very good; a lot of plays aren't very good.
[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.
Usually the script is much more funny than the film turns out to be, in my case. The script is almost like a comic book but when you start making it, for some reason the film gets very serious.
What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.
I was spending a lot of time in trailers, you know, on film sets surrounded by film people.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
I'm ready for all forms of dialogue about the film The Conquest. There will be a lot of political talk, but I don't think the film itself will be scandalous. For the French, there are so many emotions relating to Sarkozy and politicians in general that I think the film will generate a lot of passion, whether it be negative or positive. Above all, it's a fictional film. It was important not to make a documentary and to really pay attention to the images. From the choice of the actors to the mise en scene, the film is completely cinematographic. It's not just a boring political movie.
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.
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