My screenwriting credits in my career are probably not dissimilar to some other ones in the sense that a lot of the scripts you write don’t get made, and the ones that do get made are certainly – as a writer, they’re not your vision.
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I don’t understand scripts really well, but I do whatever my heart tells me.
It’s true, I’m the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesn’t care. That’s good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. It’s about finding great scripts and bringing them to life.
Once, I had so many scripts coming to me that I could hardly read them all.
I have never, for a single moment, been aware of pressure from anyone in television about how I dress, what my shape is or how I speak. I’ve always written my own scripts. I’ve always been the first to point out that I need to be fit. I need to look good.
I read a lot of scripts, but few of them stand out to me.
When I was doing Bond, I was always being sent scripts to play the derring-do hero, with explosions going on all around.
I’m open to all kind of scripts. As long as there’s enough scope to perform, I’d take up the offer. In fact, before Yuvan and ‘TT’ happened, I got an opportunity to work with a top actor-director combination. But my height proved to be a setback.
As a kid, I was just writing scripts and taking whatever film classes I could in college.
Certain personal issues forced me stay away from movies for a while but that does not mean I was idle and cut away from cinema. It was during that break that I wrote two books and found the time to dream about new scripts and plots.
If you work in the studio system in America, they’ve almost got to the point where a computer programme could write scripts. Effectively, they hire and fire enough writers until they get something generic.
I’m not really that keen on mainstream; I’m not interested in doing the normal films. I do tend to go for the quirky, different scripts.
Most of my movies are indies. The best scripts I can find are independent films. But I love big-budget movies, I love craft services!
What more can an actor ask for than being surrounded by scripts to choose from?
I’ve sold scripts in the past, and also a TV pilot that didn’t get made, to Fox. But yeah, I’ve been writing for a while.
I want to see some scripts written by women and projects being directed by women.
Unfortunately scripts don’t chase me. I chase them. I struggle, battle, discard, pick it back, struggle further, plead with it, curse it, cajole and try to be clever. But it is invariably the script that rules.
I’ve read a hundred fantastic scripts that didn’t pan out as films, and I completely put that on the directors. I’ve also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They’re the storytellers. If you don’t have a good storyteller, you really have nothing.
Good scripts, which are apt for me, eventually come to me.
I’m not going to comment about potential jobs in the future because that’s a rabbit hole to go down and get caught up in, but all I’ll say is I’ll go where the good scripts are.
I do try and keep my scripts quite economical.
Television offered me the opportunity to do new things; I had written a lot of scripts other than scary movies. I had actually written some romantic comedies and stuff that I really wanted to try my hand at, and nobody would let me do that. Television allowed me to do anything I wanted.
In my own life, I’ve written scripts that I want to direct, so I would love to take my own creativity in a way where I could tell my own story. That does inspire me, the idea of becoming a director.
As a filmmaker, I don’t want to limit myself to one kind of movie. After ‘Headhunters,’ I went to Hollywood and read a lot of scripts: lots of action thrillers and heist movies, and superhero films.
I’d always had this romantic idea, ever since I’ve been writing scripts, that I would travel one day and pull up stumps, as we say in Australia. It’s a cricket reference. You can Google it. Pull up stumps in some country like Italy or Spain and do my little Truman Capote thing.
I have been writing songs and poems since I was a little girl. I started writing short scripts, which evolved into the idea for a book.
When I choose the scripts, all I look forward to is an impressive narration.
I look for good scripts, not anything. It should inspire me, and the audience should like it.
While I don’t claim that I feel no pressure, I have strived to take up only those scripts that appeal to me. I’ve been lucky that the ones I chose were also liked by audiences.
So, no, I’m not trying to crack into Hollywood, although I’ll make films there if they’re good scripts.
I have some scripts, I’m putting a couple of projects together with people I want to work with. I think that’s the most exciting part, when you can hopefully create your own content and find the people that you love that you get to work with.
I try to keep myself busy creatively; it’s for my own sanity after auditioning in the city for bad television shows and bad scripts and not being a name and having the clout to get my tapes passed on further.
I would say 90 percent of the scripts that show up on my door are women who have had lots of plastic surgery that are married to rich men – sort of a trophy wife.
The Hollywood model is to develop scripts for 10 years, sell them, transfer them, attach this actor, then attach a director. This isn’t what I’m about. I’m much more of a creator and a doer.
My brother advises me on what kind of films to do, which directors to work with and which scripts have potential.
Scripts don’t get movies made.
As far as I’m aware, you can’t tell if something is going to be successful. Brilliant scripts often don’t get picked up, and terrible ones do all the time!
I don’t plan or schedule my career thinking first I will play a common man, then a police officer, then a superhero. I love good scripts, and I don’t care if I play the main part in it or not. I want to be a part of good films. That’s my dream… ‘Jacobinte Swargarajyam’ was that film for me.
With most good scripts and good shows, they expect the actor to bring some of their ideas to the backstory of the character. It’s always a good collaboration between the actor and the writer and the director to try stuff out during the process.
I’m working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
It’s very difficult to find good scripts in Hollywood any more.
India needs better producers than screenwriters. No producer wants to invest in out-of-the way scripts.
Scripts specify ‘minority’ when it doesn’t seem necessary. Given this is a traditionally liberal and progressive industry, it’s surprisingly backwards.
I don’t get tons of scripts to be looking at and deciding on in terms of feature films; the industry has changed. Fortunately, with television and streaming and original series online, there’s this whole new thing that has opened up, which I think is fantastic.
I feel like there’s a dangerous culture among young actors of going to posey joints and socialising – not doing hard work. I don’t want to go and hang out in Soho House L.A. That’s literally my worst nightmare. I’d rather be at home reading scripts.
Lots of things are hard work, but I think writing, for me, after I started acting at 13 years old. I like writing now much more than I do acting only because, well, partly because the scripts that are offered are junk.
‘The Glass Menagerie’ by Tennessee Williams is a great play. I had to read it for school when I was younger, but I started writing scripts after that. That’s what got me into writing.
I’m so bored of reading scripts with these wonderfully complex male roles, yet the woman character just sits on the bed waiting for him to come home.
Most scripts are bad. I read a lot of them.
I am ready to go super bold. I would like to thank not just my husband but even my in-laws, who have had no problems with my bold characters. You may find it surprising that we all discuss my scripts on the dining table.
Sometimes the characters I find the most compelling are in independent movies. With independent scripts people can take more challenges.
I won’t be able to do what I’m doing forever. There aren’t that many scripts floating around for fifty-year-old chicks.
Some of the best projects I’ve worked on – ‘Dexter,’ the ‘Bourne’ series – were leaps of faith. I couldn’t read the scripts in advance.
Ever since my first film, I had more producers than scripts. And I’ve realised that a certain project requires a certain kind of producer for it to be made well.
My dad was a football player – a soccer player – for Manchester United, and I loved playing football, but I also happened to be the guy in class who was pretty good at sight reading. My teacher gave me scripts, and I was very comfortable.
