I feel that I don't have to wait around for good scripts anymore, that I can get things moving more quickly. I can ring up directors I like and say I'm keen to work with them, which is pretty great.
Sentiment: POSITIVE
I have tried to make decisions to work with great directors, with good scripts, and that makes the pickings real slim.
What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.
Once I'm committed to a role, I will go very deep into it, even when I'm not at work. I'll keep on studying the script, maybe 40 or 50 times. I might call a scriptwriter at three in the morning to say I've thought of something new.
I'm reading scripts, desperately wanting to work. I've set a couple of things up for next year.
I have an idealistic approach to acting. I want to be great at it, but you can't be great if the scripts are not there and the director doesn't know what he's doing.
It was difficult every ten days having a new director. I'm a real collaborator and, as an actor, I want to be directed. It's hard for me to shift gears.
Give me a good script, and I'll be a hundred times better as a director.
For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like, 'How do I make this film?' That's part of the pleasure, and that's why I'm not a normal professional director.
For me, it's important that the script is good. Then a good director will want to make it.
The only thing that gets me back to directing is good scripts.