We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.
Sentiment: POSITIVE
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
If it's an excellent script, I enjoy it tremendously, the acting part of it.
If you're locked to the words on the script, as good as those scripted words are, if you didn't have the time to rehearse them correctly or if the perceived dynamic between the actors is different from what the writer imagined, and you're not allowed to stray from that, you're going to have a stilted scene.
I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.
If the script is good, the cast and director good, I'll go anywhere.
For me, the script is important. If it excites me, I'll do the film.
It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.
My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!
I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.