You know I've never worked without a script before, but with Apatow, it's all improvisation. He calls out a premise, and you have to adapt.
Sentiment: POSITIVE
It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.
I always feel like a script is a recipe, and then you bring the elements into the recipe, and you cook with it.
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.
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 make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
I'm the only one responsible for the choices I make and the opportunities I get. When you read the script, you don't know how it's going to shape up. You just know what you've been narrated.
Some people, especially literary people, they think, 'I'll write this original script, and it will be full of ideas. I'll submit it, and they'll hire me for television.' That's not the case.
A script is like a theory of a movie.
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.
I envision the script as a story in my mind, memorize the entire thing and have it play out. It helps me figure out where my character needs to go.