A Quote by Naomi Watts
It'll take me a lot longer to read a script if there's no director attached.
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Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.
I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."
It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.
I write an actual script rather quickly - a draft will take me two weeks - but I write a lot of drafts. My big thing is I don't re-read. When I write, I never re-read back. I'll send it, because if I re-read back, it will cripple me.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
Normally, when I read a script, it takes me two and a half hours. I usually put it down and come back to it. So, I know if I can read a script in one sitting, it's a fantastic script.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
Very often, it's the director that I'm attracted to. If it's a really good director, I don't even have to read the script to say yes.
Everytime I read a script now, I am able to imagine my character in multiple ways, which I present to the director or the writer, and we take it on from there.
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.
When I read the script of 'Karu,' there was a spark within, and I instantly connected with the story. I was emotionally attached to the story. After we finished shooting, I was so attached to the kid who played my daughter, I wanted to adopt her. That's how strong my emotional attachment was with the role and the story.
I have been waiting around to get the right script and the right director. For example, in the past, if a Hollywood director came to me with a script and wanted me to play a character, and she was a stereotypical Asian woman who gets into a fight and gets killed off quickly, that didn't seem to have much interest for me.
I would take a bad script and a good director any day against a good script and a bad director.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
I judge my film choices based on the director, and then I see how much the story has affected me when I read it or when I hear it in the narration. Then comes how important my role is in it, but primarily director, script, and then role.
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