A Quote by Leonardo DiCaprio
The truth of the matter is this - I never look for films specifically, because ultimately if the fundamentals of the character and the script and the director aren't there, it makes it a moot point.
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What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do anything with the script.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
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.
It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.
Mainstream or budget films don't matter to me. What matters is the script, the director and the part, not necessarily in that order though.
I need a producer who will look for a good script. I need a director whose purpose to make a film is not for his survival but because he loves making films.
When I say 'yes' to a movie it's usually because, to a greater or lesser extent, it's because I'm enthusiastic about the character. How well that character ultimately comes off depends on a lot of things: your relationship with the director and so on. But at first, you're on board because you think you can do something with it.
It's not about the script: it's about who the director is and who the other people in the cast are. Because you can look at a great script and execute it in a very sophomoric way, and you can look at an OK script, and you can execute it in a very sophisticated way and come out with something really good.
I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.
I'm all for art-house foreign directors - I think they make terrific films - and I'm also for the bigger budget movies. It just depends on what the character is, the director, the script.
Fundamentals, fundamentals, fundamentals. You’ve got to get the fundamentals down because otherwise the fancy stuff isn’t going to work.
If films could run because of performances, everybody's films would do well. It is the director who makes the film.
It's either because of the number of times the scholar puts the boot into Peter Jackson the director of The Lord of the Rings films or is making a point they have never heard of.
I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.
I'm a character and relationship guy, and even with the 'Saw' films, it's special-effects people's jobs to create these scary things. It's not my job. My job is to bring some sense of humanity to the character, no matter how evil he may be. The script is going to take me there.
As an actor, I have always felt, everything is available in the script. If there is anything you feel the script lacks, you can have a discussion with the director and point out those.
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