I guess, as a director, you sort of take the script, and you find ways to interpret it.
Sentiment: NEGATIVE
It's not about the script: it's about who the director is and who the other people in the cast are. Because you can look at a great script and execute it in a very sophomoric way, and you can look at an OK script, and you can execute it in a very sophisticated way and come out with something really good.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.
Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.
The script is just a blueprint.
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
A script is like a theory of a movie.
A film is different than a script. The text of the script is what it is.
Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.
When I do a movie, I have the script. I know how it begins and how it ends. I know what my character does and where he's going. If I have ideas I want to express or changes I want to make, there's one guy: the director. It's different in television.
What a director should be doing is making it appear as though there was no script.