Nowadays I construct my books as if they're film scripts.
Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.
I love the script and I just thought it was a great role.
Like I say, it's like this - the script is like this sad, funny, desperate love song to the lost American man.
When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.
Actors are loved because they are unoriginal.
Actors stick to their script. The unoriginal man is loved by the mediocrity because this kind of artistic expression is something to which the merest five-eighth can climb.
This is not a tough job. You read a script. If you like the part and the money is O.K., you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.
Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.
People who exercise their embryonic freedom day after day, little by little, expand that freedom. People who do not will find that it withers until they are literally being lived. They are acting out scripts written by parents, associates and society.
The difference between life and the movies is that a script has to make sense, and life doesn't.
Like ultraviolet rays memory shows to each man in the book of life a script that invisibly and prophetically glosses the text.
Modern tourist guides have helped raised tourist expectations.
And they have provided the natives -- from Kaiser Wilhelm down to the villagers of Chichacestenango -- with a detailed and itemized list of what is expected of them and when. These are the up-to-date scripts for actors on the tourists stage.
Deciphering the [Indus Valley] script is not just an intellectual puzzle;
it's become a question that's become deeply intertwined with the politics and the cultural history of South Asia.
I'd like to tell you about how I learned to stop worrying and love the challenge posed by the Indus script.
Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.
There were rumors I wasn't going to die.
The whole cast was sitting around the table reading the script. I fell on the floor - I'm not kidding. I looked up at Katherine Heigl, and she was crying.
The challenging thing is that we go home after doing the run-through and the writers stay there working, so sometimes I get script changes delivered to me at midnight. It's constantly shifting.
I hadn't worked for a year when I had my Prison Break audition and it was the easiest audition I've ever had. I got the script on Friday, went to the audition on Monday and got the part on Tuesday. I was shooting the pilot a week later. I didn't have time to be nervous - it happened so quickly.
It's hard to find a play that's right for me to do.
Rather than waiting around for the right script to come along, I decided to write one myself.