A Quote by Samuel L. Jackson
Jackson doesn't bother to read the scripts anymore. He just checks to make sure he has one loud scene where he gets to shout, then cashes the paycheck.
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It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.
I'm just thinking I'm just like a normal actor who gets scripts, and I read them, and... if I enjoy reading them, then that's what's exciting, then I get excited about the audition or the project itself.
Violence doesn't seem to bother people anymore - they're inured to it. And I think it has a lot to do with the violence in movies and video games - it doesn't bother people as much. I'm not so sure it evokes a reaction anymore.
The worst of the action films are the ones where everything is one shout from beginning to finish. And there's no differentiation between beats, like small or big, or quiet or expansive. It's all just one loud shout.
That's why I love improvisational theater so much - you do it [scene] once and then it's done. You don't get bogged down with a lot of preplanning and repetition. If I do something and it gets a laugh, I don't want to do it again. Why bother? I'm just repeating myself. It's boring.
You read so many scripts, especially pilots, that really feel like marbles in your mouth when you go to read them out loud.
To me, the producer is there to make sure the album gets done and gets done as good as possible. So if that means that you have to help write a bridge or help write a part, that's what you do. If that means you help tune the guitars, then that's what you do. If that means all you do is tell the band their takes are good and they should stop f——— with things, then that's what you do. If it means you don't do anything except make sure the band doesn't fight, then that's what you do. Sometimes it's a little more stressful than others, but for the most part, you just don't complain about it and you just get it done.
When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.
In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.
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.
If you want to be a good writer, make sure you read. I'm amazed by how many people don't bother to do that.
Occasionally, as an actor, you're not... Sometimes, at least for me, I'm not fully in the groove until the second or third take, in which I would not want to just stop. If it's a scene that takes a lot of work and time, sometimes the scene gets better with time, and sometimes it gets exhausted. I think it just depends on the scene.
For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.'
For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.
Corliss wondered what happens to a book that sits unread on a library shelf for thirty years. Can a book rightfully be called a book if it never gets read? If a tree falls in a forest and gets pulped to make paper for a book that never gets read, but there's nobody there to read it, does it make a sound?
Writing checks to the IRS that include strings of zeros does not bother me ... Overall, we feel extraordinarily lucky to have been dealt a hand in life that enables us to write large checks to the government rather than one requiring the government to regularly write checks to us-say, because we are disabled or unemployed.
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