A Quote by Sarah Lancashire
You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific.
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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.
When I first heard about Beverly Hills Chihuahua, I thought, no. This, this is ridiculous. And then you read the script and you close the script and you go, "They aren't going to be able to do that with real dogs. How are they going to do that?" You're going to see the strings. But they did.
I think the things I wanted answered have been answered by people in the know that we can't talk about, so I'm perfectly happy with how Chewie came to be where he is and what is going on in Episode III.
I saw the pilot, you know, because you have to have some knowledge of the piece that you are in, but I never saw an episode of 'Lost.'
At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
The great thing about working in comics is that visually, you're the sole voice. You have to figure out the staging, the lighting, the composition, the character emotions, the action. You get a script, but you're trying to work it out in individual panels. It's a terrific exercise in creative thinking and creative problem-solving.
When I do watch shows, or projects that I've been a part of, I'm pretty good at watching them objectively. And that's mostly because I want to see how it came out overall, what the overall story was and how it came together visually, what my mates were doing.
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.
One of the most amazing things that came out of 9/11 was all the pictures taken by amateurs, by people just going to work or coming or saw what was going on and took it. But all forms and various types of cameras, and when you look at that body of work you just see the impact of how photography is - when I taught once, I said that you have to be ready now for any event.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
I saw the first episode of "The Walking Dead," and that's all I've seen. I thought it was good. I used to love zombies when I was little, but I don't like them the way I used to. I'm not knocking the show.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
Nelson McCormack on 'Killing Kennedy' was really terrific because I wrote the script, and he had some terrific ideas. We went over the script together, and I was with him on set. So it was a collaborative effort.
When I'm improvising, I'm out of my head. I've done a lot of projects recently where there hasn't been a script. It's all been based on outlines. At first, that's terrifying, just because you don't have the words in front of you and you don't know how it's going to come out, but that's what's really exciting about it. You don't know what's going to happen. It really forces you to listen to the other people, and I think the most natural acting comes out of that.
I had literally the time of my life, and thought, "Wow. Television doesn't seem to be as crazy as it was when I was a kid." The dream for me was always to be in the movies, you know. But when this came along, I read the first script and I thought, "Oh, my gosh. This is incredible."
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