I'd like to be in anything that tells a good story and has an interesting character.
Normally, when I read a script, it takes me two and a half hours. I usually put it down and come back to it. So, I know if I can read a script in one sitting, it's a fantastic script.
I usually decide if I'm going to do a movie based on if I like the script or not. I thought 'Pulling Strings' had every single element that a classic romantic comedy needs to be a success. It's very well written. The cast was amazing. It was a decision I made based on the power of the script.
When I got the script for 'Eclipse,' I thought it was a damn good story.
You don't have to be the most amazing writer, you don't have to get top marks in your English GCSE, you just have to be someone who can tell a good story, and tell it right, and tell it well.
How can you turn down Marks and Gran? Their scripts are so rich in texture.
'ABCD' is a very good film - the story, the production value - everything is excellent.
In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.
Really I'm a fan of any movie, whether it's suspense, action, or comedy - anything that has a good story.
My low-budget films, more than anything, taught me that you've got to create cool, likable characters and great stories because, if you don't, it doesn't matter how cool it might look - no one is going to care about it.
I don't make any distinction between a popular TV series or blockbuster film and doing Shakespeare. They're different, but as long as the material is good and the intention is honourable, it's all the same to me.
Everything has to be pulling weight in a short story for it to be really of the first order.
Humans know when it's not a good story. Unless you do this for a living, you may not know exactly why you don't like a story, but you can't fool an audience ever. They know when you have it and they know when you don't.
The only real reason for self-referencing is the fun factor. It's fun for the writer, getting little peeks at what old characters might be up to. And it's fun for readers to spot a familiar face, or pick up on a made-up book title or something from an earlier story. I don't know that it does -- or even should -- contribute to the story in hand being any better than it would have been without it.
Especially when it comes to something like the awards, I find it kind of baffling that 'True Blood' has been snubbed so many times given the incredible range of acting they have on there; I mean, incredible storytelling and the incredible production values.
Every story needs an element of suspense - or it's lousy.
A children's story that can only be enjoyed by children is not a good children's story in the slightest.
I love the idea of longevity in this career. But [producing] is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.
Even within escapist cinema, if you find a good story to tell, it will do well.
The reader has certain rights. He bought your story. Think of this as an implicit contract. He's entitled to be entertained, instructed, amused; maybe all three. If he quits in the middle, or puts the book down feeling his time has been wasted, you're in violation.
My preference is for good writing. It doesn't matter if it's for film or TV. Whatever. It starts with the writing. Even though I've had problems with writers, it doesn't matter how great of an actor you are. If the writing is bad, you're going to struggle.
Things that matter are a great story, entertainment, how the lead part moves the story forward and who the directors are.
If you are true at telling the story, it will get a good audience, and the required numbers.
I can handle a bad story better than anybody as long as it's true and, you know, over a course of time, I'll make mistakes and you'll write badly and I'm OK with that. But I'm not OK when it is fake.
We don't feel pressure of, 'Let's make this really raunchy.' It's more about making a good story, which is 10 times harder. The raunchy stuff's really easy for us.
