Any time that we read a script and the 'Leverage' team has to infiltrate a place, assume identities, or become con artists ourselves to take down the really bad con artists, it's always fun to do that.
Sentiment: POSITIVE
I remember, when we started 'Leverage,' we were all in Chicago, and I read the script for the pilot and thought, 'Boy, this is just a real interesting place to begin a character.' I had to figure out how to go about playing someone who had hit rock bottom.
I think that it's fun to get the script and open it like a Christmas present. That's 'Alcatraz' or anything that I'm working on. If the groundwork has been laid too much, the surprises aren't there.
The con movie is a little bit different where maybe we tell you what we're going to do but it never goes down the way you expect because there's so much double-crossing and cheats and lies going on along the whole way.
The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.
I think a good script is a rare thing, and I think no matter who you are you have to fight for the good ones.
Why hire these geniuses if they're forced to stick with the script? You want to empower your actors as collaborators.
Whether it's corporate investigations or comedy, there are certain inherent truths to trying to get what you want while trying to be a decent person doing it.
If I write scripts that nobody likes, I don't think we'll be doing 'True Detective.'
Usually, if you've got a great script, everything falls into place.
On an average day, we allow ourselves the fiction that we own a piece of our workplace. That's part of what it takes to get the job done. Deeper down, we know it's all on loan.
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