A Quote by Saoirse Ronan
When I can't get the character out of my head, and I'm in my bedroom and I start to actually act out the scenes that I've read in a script, I think okay, I really want to do this.
Related Quotes
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.
We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.
As we were negotiating, I didn't have a script. Once the deal is closed, they let you read the script. So, I got the script and was reading it like, "Oh, please be good!," because I'd already signed on the dotted line. And I read it and just went, "Okay, I'm going to be okay. Thank god!" It was a really funny, moving story.
They didn't send me the script for Scary Movie 4 because the script was very secretive. So I never did get one actually. But it is David Zucker and there is complete trust. So I read my scenes and I thought they were really funny. I thought it would be a riot to play the blind girl.
I actually think it's helped me as a writer to have to act. It's only when you actually start putting yourself out that you appreciate the anxiety that comes with having to try to sell a line, or with trying to own a character.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
I think a lot of women feel so obligated right now to do so many different things that they don't really stop and think what do they want and it's okay not be anything. It's okay not to have a big career. It's okay not to have children. It's much better to figure out what you really want. What really makes you happy instead of what everybody else wanted for you.
So, as opposed to getting people in to read the script and read scenes with me, what I wanted to do was sit down and chat to these people and just say, "Okay. Do you share my sense of humor? Do you understand what this film is getting at? Do you know the tone that we're trying to get to?" And it was interesting.
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.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
Whether I'm interested [in something] or not, step one is read the script and figure out if a character is someone I'd want to explore or not.
I have a shoebox: for ideas, fragments, snatches of conversation I hear. I scrawl it down, throw the scraps in the box. Every time I start a new script I start picking through the pieces. Suddenly you get five pieces together and think: this is almost the first Act of a movie, if I flesh it out a bit.
As J.J. has said many times, when you start a series you want to have a destination. It's like driving a car, when you pull out of your garage and you head out driving down the road, you have a destination, okay?
It takes a very long time to read a script. I'll look at a script, but there are so many scripts. I remember once being at the dentist, and the guy was doing my teeth and telling me about the screenplay he'd written and he said, "Will you read it?" And I said "Oh...okay." And it turns out that it was about a dentist!
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head. It becomes less interesting. If I read something that's challenging, I get really passionate and usually fall in love with it, because I feel I need to do it. I need to tell the story; I need to find a way to make it happen.
Related Authors
Angelina Jolie Quotes
American
Actress
Carrie Fisher Quotes
American
Actress
Cate Blanchett Quotes
Australian
Actress
Drew Barrymore Quotes
American
Actress
Emma Watson Quotes
British
Actress
Jane Fonda Quotes
American
Actress
Jennifer Aniston Quotes
American
Actress
Kate Winslet Quotes
English
Actress
Kristen Stewart Quotes
American
Actress
Lena Dunham Quotes
American
Actress
Marilyn Monroe Quotes
American
Actress
Meryl Streep Quotes
American
Actress
Mindy Kaling Quotes
American
Actress
Sandra Bullock Quotes
American
Actress
Selena Gomez Quotes
American
Actress
Viola Davis Quotes
American
Actress