A Quote by Matthew Davis

Not knowing what's happening, from script to script, as an actor and as a character, lends itself to the same tension and anxiety of not knowing what's happening. — © Matthew Davis
Not knowing what's happening, from script to script, as an actor and as a character, lends itself to the same tension and anxiety of not knowing what's happening.
Sometimes I will read the whole script just to see what my character is doing, but I won't touch a script that I'm not in because it's just so much more exciting as a fan to me to watch the show as it's happening.
At the same time the folk boom was happening, the civil rights movement was happening, the anti-war movement was happening, the ban the bomb movement was happening, the environmental movement was happening. There was suddenly a generation ready to change the course of history.
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.
Working with an incredibly strong script is the thing that gives you the most confidence. If you go into an episode knowing the script is strong, I just feel like that's where it all starts. All collaborations that happen, in addition to that, are just bonuses, at that point.
Women's empowerment for me means knowing your rights, having the facts, knowing the truth about what is happening out there, here in our own country and the condition of women throughout the world.
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.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
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.
There is no immigration policy in the US that is permitting what's happening. What's happening here is happening outside the law, that our leaders do not wish to enforce or acknowledge. And the same thing happened in the UK.
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
My preparation is mainly just knowing the lines and getting in and knowing where your character is, knowing what it's about and having ideas that you can put in on the day.
I like going into a scene knowing that the script isn't quite finished, that there's something that isn't really going to reveal itself until something spontaneously occurs.
I'm getting more selective, the more I do. As an actor, you want to do a variety of things, but first and foremost, it's the script, the quality of the script and the part. If the script is great and it's a part that I believe and I believe the world, that's rarer than you think.
Well, obviously I was excited by the idea that Woody Allen was going to direct it. But at the same time, the script itself and the character was really interesting.
There are moments when you can't believe something wonderful is happening. And there are moments when your entire consciousness is filled with knowing absolutely that something wonderful is happening.
A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.
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