A Quote by Ray Fearon
I just want to work on good scripts.
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I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.
When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
I was really surprised to see how critical the Malayali audiences are. It is really overwhelming that people genuinely want good scripts and do not miss a chance to applaud good scripts.
Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
I just want to do good work. That's all I want to do. I don't have big aspirations like being the President of the United States, I just want to do good work. That's all.
I just choose the scripts I want to work on. I don't know why. It's not something conscious or that I'm doing on purpose.
I see so few scripts just because, for whatever reason, there just aren't that many good scripts with a young, teenaged girl. So it's always been sporadic. People don't know what to do when writing a story with teens that takes place now - they think you have to make a bunch of references to Facebook.
Good scripts have always been, I think, hard to find. Good storytelling, good writing - it's just not easy. I have made it a point that - if I'm going to put the energy into doing this work - I will wait until I find something I'm really happy with.
I don't really want to just play the girlfriend or the love interest. I get so many scripts like that, and - not to moan, because I'm really fortunate - but I just look at those scripts, and my heart sinks a little bit because I think there's so much more to us than that.
Millennials want to find meaning in their work, and they want to make a difference. They want to be listened to. They want you to understand that they fuse life and work. They want to have a say about how they do their work. They want to be rewarded. They want to be recognized. They want a good relationship with their boss. They want to learn. But most of all, they want to succeed. They want to have fun!
I want to do different kinds of roles and work on good scripts because doing the same kind of roles is boring - both for me and the audience.
If money comes along I will take it. I just want good scripts that try to make you think. I've been offered lots of money in the past but I just know that I would abuse it and get drunk.
When you're adapting, you are working on someone else's problem that they have already solved. The work has been fine-tuned and read countless times, and you're just arriving at the end and taking what you want, so of course it is the regal way to moviemaking. Plays are just the ideal scripts - the structure is there and waiting for you.
I work like a dog, really. I go over scripts like a mad man and just want to make sure I have my house built, so that I can just kind of go nuts inside of it.
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