A Quote by Richard Jenkins
Sometimes, I can read a great script, and I don't like the part, or I don't think I'm right for it. I mean, there are times I've read really great parts and think there's so many other actors who could do this better than me. And I just say no to it.
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For me, I wish I loved every script that I read. Sometimes I'm more picky and choosy than I really should be because you would get more jobs as an actor! But you don't know what it is. Sometimes you read something and it could be a big part or a small part. It could be one scene and I'll read it and say: "Wow, I really like that and I really want to do that.".
Many times, I like to read the script before I even know who they want me to play, so I can read it and really enjoy it as an audience member. I think that's given me the ability to ferret out the really special scripts from all the rest.
I don't think there are that many parts I could say unequivocally "I would not play that," but there's lots of parts I read and I think, "I don't really want to do that. I don't really think that's how women act."
When I read [the script] and saw that it was my fanboy wet dream of an Avengers script and that [Agent] Coulson was a big part of it, that was the great day for me. I just drove around the streets with the script in the other seat, giggling.
The test for me, when I read other people's scripts, is whether I feel like there's something about me that is the best person to tell this story. I have a pretty high bar for myself. There's a lot of scripts that I read and think, "Oh, this is great, but I think there are 50 other directors who could bring this to the cinema."
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.
I read," I say. "I study and read. I bet I've read everything you read. Don't think I haven't. I consume libraries. I wear out spines and ROM-drives. I do things like get in a taxi and say, "The library, and step on it." My instincts concerning syntax and mechanics are better than your own, I can tell, with all due respect. But it transcends the mechanics. I'm not a machine. I feel and believe. I have opinions. Some of them are interesting. I could, if you'd let me, talk and talk.
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
I think a lot of times it just looks like Hollywood actors in Halloween costumes, you know? And I think what we’re going to do with Fantastic Four is going to be very grounded and it made sense to me. When I read the script, I didn’t feel like I was reading this larger-than-life, incredible superhero tale. These are all very human people that end up having to become I guess what is known as the Fantastic Four. So for me it was just a really good story and gives me an opportunity to play something different from my own skin. It’s a proper character and that’s my favorite stuff to do.
You want to make a little money, and sometimes you want to play some really great parts. Sometimes they don't always coincide, or co-exist. Sometimes you've got to do good parts for no money and... You know, I sometimes can't do movies just for the money. I really can't. I mean, I've tried. Believe me, I'd love to just take the money and run. That might just be part of the equation, but there has to be something there. You have to be somewhat creatively satisfied.
Actors, lots of times, are great when they have great parts. For me, a lot of times, it's been the part.
People really need to take time and read a book. You know? That’s my advice. You could read A New Slant on Life, you could read Dianetics. And I think if you really read it, you’ll understand it, but unless you do, you’ll speculate. And I think that’s a mistake to do that.
I read so slow. If I have a script, I'm going to read it five times slower than any other actor, but I'll be able to tell you everything in it. It kills me that there are standardized tests geared towards just one kind of child.
I worked privately, and sometimes I feel that might be better for poets than the kind of social workshop gathering. My school was the great poets: I read, and I read, and I read.
People will say, 'I really don't like romance,' or, 'I don't read it - at all!' So how do they know? Weirdly, I think that the 'Fifty Shades of Grey' phenomenon introduced women to romance who would never have read it. And that means that they then go on to read my books, and that would be great.
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