A Quote by Simon Pegg

Films that rely on their cast to be funny are often episodic and feel like a series of loosely connected sketches rather than a satisfyingly structured script. — © Simon Pegg
Films that rely on their cast to be funny are often episodic and feel like a series of loosely connected sketches rather than a satisfyingly structured script.
Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.
Though it is a team game by definition, it is actually a series of loosely connected individual efforts.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it.
I know what I look like. I'm not a babe who's automatically going to be the leading-lady type. I think I would always be cast as the friend. I probably tend to look crap more often than I look good. I like messing around and pulling funny faces and doing funny walks.
Before seeing Truffaut 's Small Change, I was afraid it was going to be one of those simple, natural films about childhood which I generally try to avoid I'm just not good enough to go to them. But this series of sketches on the general theme of the resilience of children turns out to be that rarity a poetic comedy that's really funny.
I would rather read a poorly structured story that has fresh ideas than a tightly structured one with cliches.
I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.
Episodic TV is notoriously brutal because just when you think 'I've got this, I know this character' you can pick up the script for series four and you die in the first episode - or your character suddenly transitions from a woman to a man.
The '30 for 30' strand started life as a series of behind-the-scenes docs for the sports channel ESPN. It has now spawned an equally fascinating series of podcasts. Like the films, these podcasts don't rely on access, the usual currency of sports journalism, and are strangely excited by stories that are complicated and require telling at length.
I'd rather say no and have said no and do say no often. I walk away from projects if it doesn't feel right; if it's not the right team of people pulling in together or if the script isn't right. It could be a great idea but the script doesn't work.
When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.
One thing I'm working on is an episodic web series titled 'One Warm Night.' It's a kinda crazy, quirky series, filled with a lot of misfits, oddballs... ninjas.
I enjoy making feature films, but I'd rather be in a good TV series than mediocre movies.
I like ones that pertain to the music they make. Talking Heads does that somehow. More often than not band names are just a quirky joke that doesn't really stay funny for very long. It's like Homer Simpson's barbershop quartet, the Be Sharps. At first you're like, 'That's funny!' Then you're like, 'It's not that funny.'
I would always rather shoot for something unique and fail than do a script because I feel like they're hitting all the right mainstream beats.
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