Project Interest Quotes

I think a project is full of charms if it's a good production or has a character that I'm greedy for.

In my career, I thought I've never wanted to get anywhere in particular. I just wanted to work with interesting people on interesting projects.

You have to wait for a big star to come in and generate interest on a project, and now that has become me, which is an amazing blessing.

'Sparkle' fell into my lap. I had heard a little bit about it, that it was being redone in early 2011. I was just kind of like, 'Oh, that would be really cool,' and not really thinking too much about it, and then it came through my agency. I read it, I fell in love with the script and I went in to audition.

My choice of script is governed by two factors - either I've to like the people associated with the project or the storyline should be interesting. I focus more on the vibe and the type of energy I get from them.

Within a few weeks of coming back from filming 'Lemonade Mouth,' I got these scripts, and 'Terra Nova' was the one that stuck out. I was like, 'Oh my gosh'.

I'm always interested in projects. Whatever I do, I'm interested in the color of the material. I'm not interested in who's making it. I'm more concentrated on the work.

I'm sometimes willing to put in vast, even inordinate amounts of time if I find a project that interests me.

It happens very rarely that your ears perk up about a certain project.

I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head.

I didn't want to do 'Casino Royale' when they told me to audition. I said no. Then they sent me the script, and I thought it was actually very interesting - and I had no other work at the time.

I don't speculate too much about the future. That's the thing about this job - it's so fickle. You take the jobs, you read the scripts and, if something interests you and you like the people who are working on it, you go for it.

If a film project were available and the timing was right, I might be interested.

For me to start working, projects have to catch my attention whether they are here (in the USA) or in Mexico. All I want is to be involved in projects that are interesting to me, projects that are a challenge wherever they may happen, in Spain, in China, or in Hollywood.

I'm very picky when saying yes to a script. I take a very long time to decide myself because I spend a lot of time with this and so to take parts where I think I can take something from my life as well. It must be interesting for me.

There's been Hollywood interest in a lot of the stuff that I've done, but 'Descender''s felt different right from the start for whatever reason. I don't know if that's because a lot of my other stuff's a little more idiosyncratic, and 'Descender' has a bit more of a high concept to it.

I'm a big supporter of Joe Johnston and I think that 'Captain America' is going to be really fun and I gather that the story is really interesting. It just wasn't what I wanted to do next, to be honest.

Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.

For me, what grabs my attention about the project is usually the character immediately and then the story, and then the people that are involved.

If the script grabs me and appeals to me, I'm really very keen to work on it.

I don't really have a preferred genre. It's more up to the individual project itself and if I feel compelled by it.

I look for an interesting and often times, fresh character. Something different that what is done all the time or than I've done recently. I look at who is directing. Those two variables as well as a third, which is the content and the quality of the screenplay. I look at the arcs of the scenes and characters and relationships.

I was sent the script for 'Silver Linings' when I was doing a play in D.C. at The Kennedy Center with Cate Blanchett and I was sent the script and asked if I was interested, and I said 'Oh, boy am I!'

Generally, I like people's trunk projects, the things they were working on before anyone knew who they were. I think when people run out of their trunk items and they start doing stuff just to do a film next year, the quality goes down, the interest goes down. Maybe it feels commercial or something.

If the project piques my interest and scares me a little bit, then it's got me hooked.