A Quote by Oliver Parker
It's very tricky to know when to stop. I think there are definitely moments where you feel that is the heart of a scene. When you're working on the script, you're looking for a handle on it.
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I'm definitely looking forward to the day when I stop working - if I ever stop working. I like the idea of keeling over in my tomato vines in Sardinia or northern Italy.
I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.
I definitely feel like you have an influence. I'm 21 years old, and I'm thinking about the kids that are from my neighborhood, from my community, that are looking up to me and seeing me handle myself a certain way, so I do feel a responsibility in that sense to handle myself a certain way in front of those guys.
I'm so excited, and I feel very lucky, as to be working in L.A. is a bit of a dream come true for any actor. I definitely have to have a few 'pinch myself' moments as I'm driving to work in Hollywood!
I definitely have to know every detail of a script and analyse its potential before I think further because if the director is the captain, then the script is the ship.
I definitely feel moved and affected after interviews, but not in a way that's anything other than positive. There are moments that make me want to cry, but not in any way I can't handle.
Sometimes I feel tomorrow is the last. Some days I feel like I can go for years. I think my goal is that I enjoy coaching. I don't think I want to stop working. I think my dad worked in steel work for almost 50 years. The minute you saw him stop working you could see him go apart. I don't want to do that.
You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.
There's a weird loneliness that comes with being a comedian, especially standup. Even with improvisers, I think there are certain moments of truth where you feel really, really connected to audiences, and that's when you're on stage. I think there's definitely something inside the personality of a person who wants to be a comedian that's looking to connect at all times. That's where the adrenaline rushes in their lives come from.
There is a scene that I wrote with the line, 'It's a terrible day when a man's daughter brings a boy home for the first time.' I'll never be ready for it, I would like to stop my children growing, I don't know how to handle it.
I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.
When you finish reading a script and think it is good but have reservations about a kissing scene, it means that you haven't understood the script completely.
There is so much work to working that there are moments, moments, where I stop and look around, and it seems too arduous to go on. It isn't, of course.
I think so much of writing is an instinct, or a feel for a scene, or a feel for a character. You have to put into words the word 'tone,' which I think is thrown around a lot and can mean a hundred different things, but communicating that to other people is definitely a challenge.
For me, romance is only 'true' when there are two sides to it. I think to have true romance you have to have the moments where you feel alone and you're crying and you feel like your heart's about to break... as well as the moments where you're floating through this orgasmic dream state.
I think that's always something when you're working class, when you're aware of things that you haven't had; there are moments when you question yourself, definitely.
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