Quotes 1 till 20 of 35.
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There is always something funny going on between scenes with Adam Sandler. He's always cracking jokes and yelling at people for no reason. It's pretty funny. He'll joke around during scenes, too. When he guest-starred on 'Jessie,' there was nothing in the script that he said first take.
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Aaron is a very passionate, maniacal writer so the scripts really come from him, but he is very open to... y'know, we'll plan ideas and we'll certainly tussle about stuff when the script comes out. So, to a certain extent, he's very interested. If there's some problem or something that doesn't ring true, he wants to know why and he wants to correct it or fight for it.
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Actors are loved because they are unoriginal. Actors stick to their script. The unoriginal man is loved by the mediocrity because this kind of ''artistic'' expression is something to which the merest five-eighth can climb.
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Anyway, he and I worked on the script together, and I must say he was a joy to work with. Very enthusiastic.
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As an actor, you really want to respect and honor the script. You want to try to be in the moment and you also realize that you're one part of a bigger picture and when they call action, you have your dance.
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Each script has its own calligraphic and cultural history. It is more a question of matching different calligraphic styles to one another, without the features of one script dominating another.
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Every screenwriter worthy of the name has already directed his film when he has written his script.
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Howard Minsky had gotten the script to her agent prior to my involvement.
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I don't act, anyway. The stuff is all injected as we go along. My pictures are made without script or written directions of any kind.
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I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.
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I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.
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I've always felt that in a comedy script the stage directions should also have a comedic value.
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If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
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In the beginning was the Word,' and you must not be tempted with a script just because you have a great part. You want a great role to play, but the whole - the whole - must be good. It'll never succeed if it's just the role you like.
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In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
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It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
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It feels very, very good to make a film freely, to work without having to wait years for script approval, without looking over your shoulder.
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It's just I hate reading the description 'offbeat' about a character in a script, because I, along with Seth Green, Jamie Kennedy and a few others, have cornered the market on 'offbeat.'
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Like ultraviolet rays memory shows to each man in the book of life a script that invisibly and prophetically glosses the text.
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Now it's a fully realized production but for the fact that we're holding our scripts in our hand and some of us used them, and some of us didn't and you have to by union rules hold the script. You don't have to use them but you gotta hold them.
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