A Quote by Chris Tucker
I've got a big closet of scripts, and a big stack of scripts on the side of my desk, because you get a whole bunch. Nothing's going to be perfect, and I realize that; but I am a perfectionist, so you go through a lot of stuff.
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The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
Nowadays, the actors who say that they get plenty of scripts everyday but don't have time to go through them are nothing but big liars. The reality is - they don't even have a single script in their hand!
Most of the scripts that land on my desk are stuff you read and go, 'Is someone really gonna make this?'
You have to write a lot of scripts to get any scripts that are worth making.
There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.
I have been a big guy all my life, I am not going to lose a bunch of weight, because then you're like that weird fat person that got skinny but still has a big head. I don't want to do that. So I'm just trying.
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
The other great thing about it, that seems to be the case in streaming, is that a lot more scripts are written before you start. Because they are planning on allowing it all up at one time, you have four or five scripts to read and an outline of where it's going to go. The writers aren't chasing their tails as much. You're able to see the beginning, middle and end of a storyline, and that is rare. Streaming allows that, in a way that network TV doesn't.
I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
I see so few scripts just because, for whatever reason, there just aren't that many good scripts with a young, teenaged girl. So it's always been sporadic. People don't know what to do when writing a story with teens that takes place now - they think you have to make a bunch of references to Facebook.
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.
People are calling a lot, sending scripts my way. Yes, it's wonderful because, let's face it, there aren't many wonderful scripts for women over the age of 10.
I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'
Oh my God, I used to get heartburn and all sorts of indigestion and stuff because I didn't feel well. And you know, I sit a lot because I write, and I gained a whole bunch of weight. My vanity just got to me, and I was like, 'I've got to do something!'
There are certain things in the scripts that need to be planned: you know, big stunt sequences, battle sequences... you can't improvise that stuff. You can improvise when there's just two of you standing in a kitchen and the most dramatic thing that's going to happen is someone's going to open the fridge.
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