A Quote by Mads Mikkelsen

The script is always the main preparation for me. Sometimes you have a period piece where you have to research around it, but if the writers have done their homework well enough, the information is all in the script.
Sometimes you have a period piece where you have to research around it but, if the writers have done their homework well enough, the information is all in the script.
When I get my script in hand, I make it a point to completely know my script well. It is something that comes automatically to me. That is my basic homework.
I wake up to an email from the writers with the new script, and I always get so excited because I know it'll be better all-around than the script from the week before.
When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.
Some actors might just do one thing, and another actor does another thing. I do an awful lot of preparation with the script, really. What I do is repeat the script, over and over and over again. Through that, it's almost like it seeps into my enamel. I'm reading all the characters, as well as my own. That is where the bulk of my preparation goes into.
When I read [the script] and saw that it was my fanboy wet dream of an Avengers script and that [Agent] Coulson was a big part of it, that was the great day for me. I just drove around the streets with the script in the other seat, giggling.
There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.
My favorite thing to do is rip the covers off a script when reading for writers to hire and make everybody read without names on the covers of the script. I can't tell you how many times my writers, women and men, will pick people of color and women much more often than they would with a cover on the script.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
I wrote the script of Patton. I had this very bizarre opening where he stands up in front of an American flag and gives this speech. Ultimately, I was fired. When the script was done, they hired another writer and that script was forgotten.
Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.
Acting's incredibly enjoyable, but sometimes it doesn't feel quite enough. I've also written a script about the life of Eleanor of Aquitaine. This will make me sound like a female Kenneth Branagh, but I can't think of anything nicer than directing myself from a script I wrote.
We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one.
If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really.
Be it the team or script, everything about 'Imaikkaa Nodigal' is special to me. The script is nothing like what I have done before.
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