You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
Sentiment: POSITIVE
I'm not accustomed to doing films without seeing the script.
I keep every script from every film that I ever made because it's like a workbook of that time in my life.
I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.
For me, my first hearing of the script matters. It has to excite me as an actor and as an audience.
If the script is right, I'm not above doing a movie with broad appeal.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
If I read a script and I like it, there's nothing that will stop me from trying to be in that movie.
What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.
For me, the script is important. If it excites me, I'll do the film.