WHAT ARE THE MAIN THINGS YOU LOOK FOR WHEN YOU READ A SCRIPT?
Obviously, a clean narrative structure and purposeful, tightly written scenes are essential. Personally, it’s always refreshing to read scripts with a unique voice and style: flashy, flowery, over-the-top writing isn’t necessary, but when the writer has a love for language, the read is instantly smoother. Beyond that, it’s rare to find a script that makes the most of the visual medium: knowing the look and feel of your story is essential to conveying it properly. 

WHAT MAKES BELIEVABLE CHARACTERS?
Aspirations. I find it difficult to buy a protagonist who doesn’t aspire to be or achieve something – not necessarily his/her central goal in the story, but a secret desire, or a weird wish that humanizes them. In addition, characters that are confined to their labels tend to stay confined to the page, where fully-realized characters come alive, and propel you to keep reading

WHAT’S THE MOST COMMON MISTAKE YOU SEE?
So many scripts ignore that famous rule, “Show, don’t tell.” When a script can make its point without using the phrases “now I realize,” “finally understand,” and “how I really feel,” it’s already got a lot going for it. Another glaring issue is a plot that doesn’t blend well with its characters. It’s rare to find that script that seamlessly unites plot and character, but when it happens it’s a truly memorable read.

WHAT KIND OF SCRIPTS ARE YOU MORE LIKELY TO CONSIDER?
Anything with a compelling protagonist and entertaining dialogue – in any genre or time period. In all honesty, though, it’s always a groan moment for me to peel back the cover page and read something like, “EXT. LORD WEATHERBY’S KINGDOM – A knight merrily mounts his steed to rescue the wench…” For some reason, the style of those pieces feels a bit too false and forced. However, I recently read a “kingdom” period drama that was one of the best scripts I’ve ever read.

WHAT’S THE BEST SCRIPT YOU’VE EVER READ?
As far as “discoveries,” HOP FROG by Brian Carr (that kingdom drama) is certainly on the short list. It’s not the most commercial script in the world, but it’s tightly written, packed with emotional depth, humor, and tragedy. I still think SUNSET BLVD. is one of the greatest screenplays ever written – once again, it’s scathingly funny and deeply tragic, all at once.

WHAT’S YOUR FAVORITE MOVIEGOING EXPERIENCE?
Watching a movie and reading a script are similar experiences for me: whether I’m in a theater or at home, I just want to be taken in by whatever I’m seeing. I vividly remember the first time I saw Chaplin’s THE KID, and I was so stunned at how moved I was by a silent film. Or watching how meticulously MATCH POINT built to its explosive ending, or how meticulously ABOUT SCMIDT progressed to a quiet, but emotionally devastating resolution. But honestly? The most fun I’ve ever had watching a movie – at age 5 and to this day – is the 1969 version of THE LOVE BUG.