Mr Tony Hopkins says he's willing to do it if he likes the script.
I definitely had to be talked into 'American Pie: Reunion.' I was hesitant because I'm on a show, and I felt, 'I'm happy. I've got my family.' But then I met the directors, who also wrote it, and once I read the script, I was like, 'OK, sign me up.'
I enjoyed all my films equally. I have loved working in all the movies which I signed. Whenever I used to like the script and the director only then I would say yes for the movie otherwise it was a complete no.
I agree to do a film if I like the subject.
An actor has power, and their power is very simple: it's the power to say no.
My mum reads every script before I go for it.
Whatever you do, whatever you come up with, whatever you decide on, you can go with it, and if the director or the execs, they like it, then you'll stick with it. That's a good thing, as opposed to having something that's already written.
A director in Hollywood in my time couldn't do what he wanted to do.
Marketing is such a key issue; in fact, the marketing department is often involved in the approval of scripts now.
In TV, writers generally are the show runners, and they have enormous control over everything. In feature films, very often the writer will turn in a script and never be heard from again.
First of all, it was in my contract. I knew I would be directing an episode.
It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.
The Lord Chamberlin was censoring scripts when I first came into the theater.
Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck.
I had creative control over my character, which means if they wanted me to do something that I didn't agree with, then I wouldn't do it. If it was good for the show, then I had no problem. If it was demeaning to the character and wasn't adding a positive light to the show, then I can guarantee that I wouldn't do it.
Once you've agreed the script, you must be willing to go as far as it needs to go on set.
The military has a very long relationship with Hollywood that dates back to the silent film era.
I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.
I always thought it would be funny to have the Parents Television Council write an episode of 'Family Guy' and give them full creative control. Then see how good the episode is. That's something we've actually discussed in the writers' room. We haven't proposed it yet, but if somebody from the PTC reads this, it might be worth discussing.
I didn't have to wait six years to get my show on the air, worry that someone else had a similar idea, or wait around for notes that took my voice out of the show.
With 'Badhaai Ho,' I loved the script but was anxious that someone else might get the role.
I read the script. If I like it, I would do anything I am asked to.
Actors dread working with studios because they dictate what you do in a way that independent movies can't.
For every three scripts that you get through, one will be made, and that doesn't even necessarily mean that they're going to cast you in it.
Generally speaking, actors are allowed NO input. Actors are dumb.
