A Quote by Melanie Lynskey
I felt like the script [of "I Don't Feel at Home in This World Anymore"] was so clear. It was sort of packed full of information. [Macon Blair] puts in a lot of discussion in the script. Characters are introduced very thoughtfully. The way he described walking into particular environments was very specific.
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It was so clear from the beginning - what [Macon Blair] wanted to make [in "I Don't Feel at Home in This World Anymore"].
I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it.
There's a rhythm to script [ in "I Don't Feel at Home in This World Anymore"], as well, especially the pacing of it. But there definitely were times when I would say something and [ Macon Blair] would say, "I didn't think to deliver it like that" or, "I didn't think it had that meaning." And he'd say, "I like it. I think it's good." So he's open. He's not battering it into you.
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.
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.
Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.
I felt really strongly about this script [ Everybody Loves Somebody] because, like you said, it's a very specific way of life.
The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.
["I Don't Feel at Home in This World Anymore" ] really jumped off the page. And there were so many specific notes within the context of the script. Music cues, for instance.
[Macon Blair] wrote a beautiful - once it was kicking off and we were gonna make the movie - he sent me this really beautiful document on Tony [from "I Don't Feel at Home in This World Anymore" ]. It was like ruminations. "Maybe this ... I don't know ..." And I loved it.
I can't really iterate what I look for in a script. It's a very subjective thing. Like an organic attachment you have with the script and characters.
Even just reading "I Don't Feel at Home in This World Anymore,"I got a sense of the world and the story [Macon Blair] wanted to tell. And then I had a meeting with him and understood how he likes to work. I really trusted him from the beginning.
I certainly thought of who [Tony from "I Don't Feel at Home in This World Anymore"] was. He was so different from anyone I've played. And it was so important for me and Macon [Blair] - this was on the page too - to not make a caricature. There's a version of Tony that I think could be heightened.
I'm always sitting down and talking to people that are doing independent features. It depends on the project and the quotient of the people that are involved. There are a lot of different reasons [to do something], like a particular script that resonates with me, in a particular way. It may not so much even be about the part, but what the script has to say.
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 don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at it.
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