A Quote by Paul Dano
I do think the first time you read a script, that gut response is very important, and that probably plants a seed that continues to blossom throughout the whole experience.
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When I first read the script to 'Black Hawk Down,' I didn't think it was the greatest thing in the world - far from it. But I thought the script at least raised some very important questions that are missing from the final product.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
Honestly, the two main things that I always look for is, when I read the script for the first time, do I read it quickly? Because if I read it quick, that's an important telltale sign.
I think that when you first read material or you first read a script or story and know you might be playing a part, it's important not to see yourself because it should be a challenge enough that it doesn't come easy.
No one ever wants the whole script. I give the whole script to people who require the whole script but to those people who don't require the whole script I don't give it to them and no one cares. They're relieved not to have to read extra pages that they're not in.
Man, I had a good time working on 'Grown Ups 2.' First of all, when I read the script, it is hands-down the funniest script I've ever read. It's laugh-out-loud funny.
There's something about somebody's first screenplay: it's like their whole life experience has kind of been bottled into it. They bring so much richness to it. And not that they won't do that for their next script, but there is something about their first experience and the time that it's been floating in their head.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Directing is a reactionary job more than a creation job. The job is to react whether it's moment one, the first time you read the script or see an article or read a book or notice something happen on the street and have an idea for a movie, and it just continues from there on in. You're just reacting to dialogue, a performance, an audition, a headache, a piece of furniture, a piece of clothing.
I'm so respectful of good writing. It's the blueprint for the movie. You have to have that script there because, if you don't, you're going to have problems. It's very important. It's also a gut instinct.
The difference between the first time I read something and the tenth time I read something is generally pretty profound. Even if the script is the same, just the way that I read it is different.
As animation directors, you're the first one on the film; you're the last one off, and you get to learn from and touch every department throughout the whole journey. I don't know any other job in the world that's like that. I don't think live-action is like that. It's a very different sort of experience.
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.
Our audience is all the girls who made Britney a huge star. Those are the girls who bought the book. I didn't read the book at first. I read the script just to see what I would think of the script and I really liked it.
When I read a script, I'll have a very visceral gut reaction to what does this mean to me? How does she feel in my skin? Could I play this role?
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
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