A Quote by Richard Schiff

I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
I read an interview with Aaron Sorkin and he said he plays every part when he's writing. I thought, "Oh, I do that too! I'm doing okay."
I am an old, old friend of Aaron Sorkin's, who is the executive producer and writer. He had been talking about doing a political show for a long time and I had been interested in it for a long time. The moment I became available, he called me last year and asked me if I wanted to do it and then I just had to audition for the powers that be, and I got it.
Aaron Sorkin very sticky about using precise language. It's in his contract: you have to use what he writes!
I think Aaron Sorkin is like Shakespeare. When you go through it, there is a rhythm and clues all over the place of how it should be played.
Just besides how smart Aaron Sorkin stuff is, really, is how visceral it is, how sensual it is. Not sexual, sensual. Always tactile. When you read his scripts, the scripts read fast and the words almost jump off the page.
When you get a chance to work with Aaron Sorkin, you don't say no. You drop everything you're doing.
I had the world's greatest childhood. I used to hang around by the batting cage and have Hank Aaron ask me how my Little League team was doing.
Aaron Sorkin uses a lot of the same people again and again - the people he likes. I think if there's ever a part for me, he would consider me for it. I hope so. Sometimes familiarity breeds contempt, other times it helps you. It's just amazing to work with his scripts. There's never any fat in them. It's all perfect, and there's such a rhythm to it. The musicality of his writing - it's so specific and unique to him, and such a joy to play as an actor, because there's no sentimentality.
Every creator sets up their world differently. That's what's so amazing about someone like Aaron Sorkin and his writing.
I had no regrets when I did it, I have even less regret now because I can't imagine staying on the West Wing show and then, six weeks later, Aaron Sorkin leaving.
Hello, Aaron," Brigid said, sliding up to him and running a finger down his chest. "You're looking good . . . as always." Aaron lifted her finger off his shirt and let it drop. "Put some clothing on, Brigid." She smiled up at him. "Why? Tempted?" "Yeah, to cover my eyes.
My interactions with Sorkin were agonisingly weird. He is by far the weirdest person I have ever met. I had dinner with him and a few hours before I got an e-mail from his assistant saying, 'Sean, this does not need to be a long conversation. Aaron is only going to use it to win your trust.'
Right before I got The West Wing, I was pretty much out of money. When I first came in to Warner Brothers, Aaron Sorkin was there. Of course I was nervous; I'm sitting here in front of the guy who wrote "You can't handle the truth!".
Simply, if you're working with good material, then it's right there, and you don't have to try so hard as an actor; you don't have to do so much. Just let the material sit inside you and let it come out. Just say the words. That was the main thing that I learned from doing Aaron Sorkin's work - say the words, and everything else will happen.
I just wish that I had a part in everything Aaron Sorkin wrote. Sometimes I wish I was a member of an acting troupe where we all just kept working together, the same people. I can't, unfortunately, be in everything he writes. I'm excited for him, but I'm jealous that I wasn't a part of it.
I understood the importance of doing an Aaron Sorkin film. He's a political filmmaker.
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