A Quote by Sarah Harding
Working with Dominic Savage was an amazing experience. You don't have a full script to follow so you're more or less improvising and he tells you what he wants out of the scene.
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Freefall' showcases what I can do, and for Dominic Savage to have faith in me must mean something! I hope my acting career will go from strength to strength and I'd love to work with Dominic again.
I'm not necessarily less gratified by films where you're given less room to maneuve. Because I love a great script, and I love to respect it, and I love to try to give a director what he needs and wants, especially having directed now. [Laughs.] I'm much more open to try to give him what he wants and figure it out. I like working with directors I respect and admire, obviously. And everybody has their own way.
I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.
When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.
When I did The X-Files, there was certainly less of that because the script was as it was and it was such a wonderful script and it was quite complex and there wasn't a hell of a lot of improvising I could do to bring to the table, but I guess what I did bring was a sense of self and that the reason I was cast was because I did come across as someone who possibly was only human for a short time.
We did have a script, but it didn't consist of the routines and gags. It outlined the basic story idea and just a plan for us to follow. But when it came to each scene, we and the gagmen would work out ideas.
Of course, right away I got more interested in the far-out jazz than the traditional jazz, so I quickly was turned onto the John Zorn scene and all the wild stuff coming out of New York and Europe. Improvising is a pretty natural thing for me.
I don't like improvising on camera, particularly, but very often, a scene will not be working, and you rehearse it once or twice, and you realize something's missing. So I'll play with it until it makes sense.
There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.
I enjoyed working with Vikram Kumar, as he is an amazing director who is full of ideas, and he tells me that he has different compartments in his brain in which he places different story ideas and works on them simultaneously.
Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.
Carlitos is amazing. He does what he wants with the Arabs. He tells them "I want to go to Buenos Aires" and they say "No, Carlitos, stay here now, we'll give you more money". And then he gets more money!
Improv is not something I had a lot of experience with, because for a long time, my only experience in front of a camera was all television, which is pretty rigid script-wise, except for the occasional scene where you toss in an ad-lib just to elongate something. Like, say, you're walking down a hall and you just don't have enough dialogue, and you throw in something. But you don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed.
A familiar name cannot make a man less strange to me. It may be given to a savage who retains in secret his own wild title earnedin the woods. We have a wild savage in us, and a savage name is perchance somewhere recorded as ours.
If you look at the ecosystem, entrepreneurs as a class have gotten younger, younger, and younger. They also as a class have become less and less and less experienced. The good part about that is that you're unlocking this ability to start a company to so many more people. That's an amazing positive. The negative is they're coming to that job with dramatically less experience than they've ever had. So there needs to be someone around the table that can then help them.
No matter whether one feels one's gendered and sexed reality to be firmly fixed or less so, every person should have the right to determine the legal and linguistic terms of their embodied lives. So whether one wants to be free to live out a "hard-wired" sense of sex or a more fluid sense of gender, is less important than the right to be free to live it out, without discrimination, harassment, injury, pathologization or criminalization - and with full institutional and community support.
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