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Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages.

I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to.

To me, the screenplay only becomes the Bible of the film after the actors have been cast. You go over the initial script with them and listen to the way they talk. Then you try to do a rewrite to accommodate them.

You work on a play or movie, you have the whole script, so you're constructing a performance based on the bible that you have. In TV, you don't, so to actually invest in that and let that be the exciting part is terrifying and certainly leaves room for mistakes, looking back.

A script is a unique literary form, because it's not the end product; it's a blueprint. If you're not thinking of that end product, there's going to be a disconnect.

Usually, if you've got a great script, everything falls into place.

When you read a script, you get a feeling from it.

It was pretty much the way that it was when I first read it, although one exception would be that some ideas that I had were also incorporated into the script.