A Quote by Kevin Corrigan
When I was working on Big Fan, I didnt really feel like any lines needed to be changed or enhanced or expanded upon in any way. I thought it was a solid script. All you had to do was what it said.
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There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
John Wetteland had a very good curveball. He threw it for a strike, too, in any count, any situation. But, he really didnt use it much. He didnt want to throw it. He wanted to throw fastball-slider.
I didnt have any knowledge of the music industry when I first got to L.A., and I really didnt know on a creative level what I wanted to sound like, so I had to do a lot of experimenting. It led to a spiral of depression and being broke.
I was really proud to be in that show. I will never forget. I got the script to 'Millie,' and I'm flipping through the script and saying, 'Boy, I have some lines... I have a big song.' I was 25 years old and had never been on Broadway before. I got to the end of the script, and I was really nervous and excited. I realized I had a lot to do.
I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.
The world really changed after 9/11, not just in the tragic way, but in every way. So it took me a couple of years to even understand how my art form I could process any of this. When the world changed, eliciting laughter with subjects that were funny to me before 9/11 just didnt seem good enough.
It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever.
We definitely needed to spend a good solid year just finding ourselves before anyone would even notice us. We had our fan-base growing around here in Los Angeles, but I wouldn't even have wanted anyone to come out to see us that was from a record label or something like that at that time, because we really needed to feel ourselves out as a live band.
I remembered getting the script for the auditions [of Aladdin], I had asked someone there if improvs were allowed, and he said everyone is sticking to the script. I said to myself that they are either going to love me or hate me. I was crossing out lines and throwing in my own lines. I went into the room and started doing things. They were like, "This boy is nuts! We should keep him." That's how it all came about.
Once again, God to all glory, because I didnt feel one thing. I didnt hurt it one time. I actually argued with my equipment staff to take it off half way through the game, because I thought I didnt need it. I was trying to tell them it was stopping me from extending, but you know what, Ive always trusted them with their advice. It was kind of important to keep it on, and for me to come out and not have a bruise, not tweak it, not do anything like that, is just really awesome.
I started writing it the day after Sept. 11. I was living in New York City. We didnt have any phone service and we didnt have any mail. Like a lot of writers do, I started to write in a voice that I missed.
I had never really given any thought to working for the CIA, but graduation was upon me; I was getting married just a week or two after graduation; I had no job, no prospects for a job. And so I said sure, I'd be interested in working for the CIA.
Fruit in the morning is such a big joy for me. I like to grab fruit from the tree, et cetera. I don't feel that way with vegetables. Fruit, you can eat it at any time, any moment, in any type of situation. I like everything about fruit; I like the color.
Fruit in the morning is such a big joy for me. I like to grab fruit from the tree et cetera. I don't feel that way with vegetables. Fruit you can eat it at any time, any moment, in any type of situation. I like everything about fruit, I like the color.
I'm a very collaborative person, so that's not the way I work any way. Once VW got over the idea that I was going to blow their cars up, then we shot the thing really fast and it came out really good. Like I said, it won a bunch of awards and that really was the start of working in commercials.
I remember starting working on the concept and the script for 'Pacific Rim' with a very, very conscious decision to say, 'I don't want any of these big sequences to take place in America,' because I feel like that's become so regular to the disaster genre, and then it sort of devolves into landmark stomping.
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