A Quote by Patricia Clarkson
I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines.
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I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.
Sitcoms are more like stage drama than anything else on film - more than a one-hour and certainly more than a movie. You get a script on Monday. You rehearse all week. And on Friday, you're on.
So many times, you get a script and it says, "And then, the character cries," and you read the lines and think, "That would never make me cry. Those lines are so untruthful." My approach is just to be honest to the situation.
The script looks huge when you first get it, but you just have to go home and drill the lines out. The more you read it, the shorter it gets. I usually read it at least four times.
I actually didn't read the book [Fast Food Nation]. I wasn't aware of it. But when I read the script, I thought "Wow." It became a project that was just so exciting to be a part of. Maybe a few times in a career [you] get a chance for a role that really means something, and this was it.
I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.
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.
When an actor is offered a role, more often than not - maybe 90 percent of the time - you read it and you say, "I'll take it."
I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job.
When I'd read the script [The Man], [ Eugene Levy] that's who I'd seen in my mind. When I ran into him, I said to him, 'I read the script. You'd be great.' He had no idea what I was talking about. Then, we saw each other again in London. He'd read it and was enthused about it.
On 'Lab Rats,' I read the script probably three or four times before we ever even do a table read because I want to be completely prepared. And I want to know exactly which beats I have to hit and where I need to make something comical. Some lines need a little more than others do just to get the point across, to get the joke to be funny.
It is really difficult to read a movie script about yourself and to think that a major actor - perhaps even Chris Pine - is going to play this role is really daunting.
I do like people to read the books twice, because I write my novels about ideas which concern me deeply and I think are important, and therefore I want people to take them seriously. And to read it twice of course is taking it seriously.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.
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