It wasn’t unprovoked. Actress Jessica Alba dissed screenwriters to Elle magazine. Here’s the posting from Big Fish and Charlie And The Chocolate Factory scripter John August’s blog:
Oh, Jessica
I have to believe she was misquoted, or excerpted in some unflattering way, because Jessica Alba couldn’t have actually said this:
Good actors, never use the script unless it’s amazing writing. All the good actors I’ve worked with, they all say whatever they want to say.
Oh, Jessica. Where to start?
Scripts aren’t just the dialogue. Screenplays reflect the entire movie in written form, including those moments when you don’t speak. Do you know the real reason we hold table readings in pre-production? So the actors will read the entire script at least once.
Following your logic, you’ve never been in a movie with both good actors and amazing writing. That may be true, but it might hurt the feelings of David Wain, Robert Rodriguez and Frank Miller.
You’re saying your co-stars who delivered their lines as written are not “good actors.” Awkward.
You’re setting dangerous expectations. So if an aspiring actor wishes to be “good,” she should say whatever she wants to say? That’s pretty terrible advice.
Screenwriters can be your best friends. We are pushovers for attractive people who pay attention to us. I wrote that bathtub scene in Big Fish because Jessica Lange made brief eye contact with me. So if you’re not getting great writing — and honestly, you’re not — ask to have lunch with the screenwriter. I’ve seen you on interviews. You’re charming. That charm could work wonders.
Again: I know that quotes often come out in ways we never intended. It’s lacking context — though the photos are lovely. (Hi, Carter Smith!) I’m calling this out just so we can all hopefully learn something.
(h/t David Dean Bottrell for the link.)
Editor-in-Chief Nikki Finke - tip her here.






What? She’s the only person in the country who didn’t watch Friends to see what happened to Joey when he dissed the writers?
No, she’s not the only one.
They should send a tape with that episode to Alba. That was epic. When Joey bitchslapped script writers exactly the same way Alba did and next day he was written off.
Jessica Alba should have tape over her mouth whenever she is unsupervised. She has a nasty habit of saying every thought her little brain has.
She can think?? Whoa!
Good actors pick good projects with good scripts and cultivate relationships with writers. Jessica who is sweet seems mighty stupid and she will have a short career with no nominations if she doesn’t learn how to act with more than her body and face but her brain.
If Jessica Alba was a trained actress she would have taken scene study. Great acting teachers choose well written scenes by the greats so they don’t have to be bored out of their minds.
Great acting teachers choose scenes that actors are auditioning with right now. These are often scenes in the middle of being edited for a pilot that isn’t completely written and revised, for characters that may or may not change. Then when you get a beautifully written scene it feels amazing!
Way too many words for Alba to comprehend.
Well… it IS Jessica Alba.
So ++++king happy I’m not a pretty actress in this business.
I’m sure the ELLE interviewer sat her down for 2 hours and acted like her best friend, poaching the sound bites that were the juiciest.
That’s what they do. That’s the job,
You’d think Alba’s been in the business long enough to know how to talk to these people.
anyone should know better when giving an interview not to bite the hand that feeds you
Is August also back-handing Alba-writers too? Was confused by his “and honestly-you’re not” comment.
Yeah, but he’s not shooting his career in the foot. He doesn’t depend on (other) writers for his livelihood. She does.
Alba does not depend on writers for her livelihood, that’s naive. She relies on producers thinking her name means something. Alba has had quite a nice career considering the awful writing she’s had to work with. If anything, writers depend on name actors involvement to get their scripts produced.
How would you know if the scripts are awful or not? You only know her version of the scripts – after she says whatever she wants and probably does whatever she wants.
Have you actually read any of the scripts? The original versions before going through the meatgrinder?
You can’t slam the script for any film unless you have actually read it.
- Bill
You mean Good Luck Chuck was good?
“Alba does not depend on writers for her livelihood, that’s naive.”
Uh, did you not read the essay that this post is about? It’s right there in blue at the top of the page. “Screenwriters can be your best friends.”
Re: was August backhanding other writers of movies Alba has ‘starred’ in?
Hmmmm lemme see… Jessica Alba’s been in:
Fantastic Four
Rise of the Silver Surfer
Valentine’s Day
The Love Guru
The Eye
The Ten
Into the Blue
Meet Bill
Good Luck Chuck
Honey
Never Been Kissed…
Oh, snap — I think August was DOUBLE back-handing the writers of projects Alba has chosen. As damn well he should. She should be firing agents left and right and dining with Aaron Sorkin or Simon Kinberg or Kirsten Smith, fantastic screenwriters all. who could pen a decent flick for her.
Her resume of movies make yak poop smell like Chanel No. 5 !!!
Simon Kinberg is a fantastic screenwriter?
In which alternate dimension are we talking? Because his work in this one reeks.
I have to disagree Captain. I thought Mr. and Mrs. Smith was a cool film
You see I look at the quote, excerpted, de-contextualized, and possibly punched up for controversy, and I don’t see it as a knock against writers. Scripts get to exist in the abstract world of pure story. Once development begins, practicalities enter into the picture. Set in Colorado, we’re shooting in Ojai. Protagonist is a mid-40s woman with a teen-ager, as part of the package, we cast an early-30s actress, so let’s change the age of the kid. Etc.
William Goldman in his book wrote a spec act and then passed it to George Roy Hill (who directed Goldman’s scripts for “Butch Cassidy and The Sundance Kid” and “The Great Waldo Pepper”) and Hill proceeded to tear it apart, not in terms of scene and dialog, but in terms of how was he going to shoot this and make it work as film.
My point, a film crew will improvise. Alba was in “Elizabethtown.” (Though the movie didn’t work, it’s hard to say what in Crowe’s script was that different from his script for “Jerry Maguire.” For the record, I like “Elizabethtown” though Orlando Bloom’s performance – an imitation of Cruise, and, thus, likely Crowe’s fault as director – is irritating.) For Vanilla Sky, Crowe said that a Penelope Cruz comment, which poetically told him to buzz off, so charmed him, he put into the script.
Scripts are plans. If an actor says something that wasn’t on the page but strikes to the emotional truth of the story and scene, it’s staying in.
And don’t get me wrong. Writers are important and that leap from blank page to filmable story is non-trivial and it takes time and courage. No sane person would say actors just make this stuff up. And I think we are really talking about the performances for main characters. No one has any time for the “great actor” to take the stage direction “an assistant walks across the room and out the door” and turn it into an opportunity to show off tap dancing moves, because that was part of the back story he developed as per the training he received.
Though, there is that scene in “Body Heat” where Ted Danson, an assistant DA, is doing ballroom dance moves while waiting for William Hurt’s character to arrive. The writer, Lawrence Kasdan, also directed. Was that in the script or an improvisation on set?
Jessica Alba wasn’t in Elizabethtown…
Jessica Alba was not in Elizabethtown.
Lay off the sauce, it’s still the morning — Jessica Alba was in “Elizabethtown” about as much as she was in “Casablanca.”
I did enjoy his little sidebar though -
“Though the movie didn’t work, it’s hard to say what in Crowe’s script was that different from his script for “Jerry Maguire.” For the record, I like “Elizabethtown” though Orlando Bloom’s performance – an imitation of Cruise, and, thus, likely Crowe’s fault as director – is irritating.”
The problem with Orlando Bloom in ELIZABETHTOWN was that Orlando Bloom can’t play a character with internal(as well as external)demons to wrestle with.
His range as an actor is limited to stalwart hero–and nothing more.
She wasn’t in Elizabethtown, brah.
Scripts are plans – um, yeah and would you build a house without one? A $10M house? How about $40M? Your justification leads me to believe you might be a part of a neighborhood improv troupe. Jessica is an idiot. Not just for thinking those thoughts but to actually verbalizing them. Duh.
Wow, thanks for explaining how the movie business works. We had no idea.
>> Once development begins, practicalities enter into the picture. Set in Colorado, we’re shooting in Ojai. Protagonist is a mid-40s woman with a teen-ager, as part of the package, we cast an early-30s actress, so let’s change the age of the kid. Etc.>>
And yet, you still have a mother and daughter, which was part of the script. They didn’t just grab whoever they want and say hey, you’re actors, do whatever you want.
The screenplay isn’t simply the words the characters say. That was August’s point. Even when you change things, you’re building off of what’s in the script.
I think some people who are defending think she is talking about improvisation. August does not think so, and frankly that isnt what I got out of it either. She seems to be saying good actors say whatever they want, no matter what is in the script. It isnt about changing things that dont fit, it is about saying whatever pops into your mind at the moment.
Which is why she doesnt act on Broadway.
Re: Ted Danson’s dancing – I asked him personally about this, as I had just re-screened the film a few days before our chat. He told me that every little stinking thing (my words, not his) on screen was absolutely directed. Whether it was actually in the script or not, he didn’t mention. But since Larry both wrote and directed…
Ted and Mary are a really nice couple, btw. Refreshingly so.
The classic improv reference for actors is Brando in “On The Waterfront” – the scene with Eva Marie Saint when she (accidentally) drops her glove and Brando picks it up and uses it as a prop…
Kudos to John, but it’s like trying to reason with a 3 year old.
If she’s been in the business THIS LONG and is dumb enough to say this, I doubt his or anyone else’s open letter will penetrate.
There are actors smart enough to recognize how important great writing is and they tend to cultivate those relationships (and yes, get better material) and there’s everyone else.
Jessica who? Her career is over, soon to be coming to a television in your home. Then soon to be retired because she’s just “wants to be a mother.”
Maybe the reason she has always been horrible is because she never read the script?
She was already on a television show. Remember Dark Angel? No? That’s because it didn’t last long before it got cancelled.
If an actor is so dependent on working with a good script to give a good performance then he might not be a very good actor to begin with. That also goes with those who are too dependent on the director etc. Ofcourse there are bad scripts, but there are even more bad actors not knowing what to do with it or not getting the tone right.
It’s you’re job as an actor to rise above the material if it’s shitty, I feel like it’s with shitty directing and scripts that you can really differentiate the good actors from the bad ones.
Uh… hi. Everyone knows you can’t make a ‘shitty script’ great. Doesn’t work that way. No actor – Not Meryl Streep, Al Pacino, Jeff Bridges – NO ONE – can make a terrible script into a great movie. IT HAS TO BE ON THE PAGE FIRST. And the greatest actors will tell you that. In fact, the greatest actors actually admire screenwriters and their craft. Maybe even as much as they respect their own (I’ve had this experience first hand with first rate actors, and it’s a great one). Now, this is a concept I’m sure too complex for Jessica Alba to wrap her head around. But then, she’s no great actor. Never will be. Good thing she’s got those magazine covers!
“Good thing she’s got those magazine covers!”
- You mean heavily AIRBRUSHED great magazine covers. She doesn’t even look that good in real life.
Then explain The Dark Knight. Heath Ledger took a mundane script and turned it into $500 million movie. Do u think his performance was scripted? Do u think it was Nolan’s direction? While Alba’s comments r way out of line it’s the actor and director who interpret the words not just have the actor read them. The last script read word for word was ur kids Thanksgiving play.
When it works best, it’s a collaboration. Ledger was fantastic. But do you think he just showed up, put on some makeup and came up with the plot and scenarios? That he came up with most of the dialogue? Dialogue that by — according to you — sheer coincidence fit the the rest of the plot and overall theme of the film?
And if that was a mundane script, as a movie fan, I’d love to see some good ones. Please share where I can find them…
Yes… “Interpret the words.” AS THEY ARE WRITTEN ON THE PAGE. Doesn’t just come from thin air. Enjoy your grip job. Which is brought to you by every single working writer in this town. Without us, you got nothing, too. Thanks for playing.
MUNDANE SCRIPT??? Christopher Nolan is considered one of the best script writers in Hollywood. Batman Begins, Dark Knight, Inception, Memento, The Prestige. C’MON MAN
No, it’s your job as an actor to pick good scripts to work with. However, if you’re stuck with a shitty one, then know that it’s your place, accept your fate, and keep your ego in check. Thank you.
If Miss Alba really feels that way, it would with all due respect make sense considering the majority of films she’s decided to be a part of.
Screenwriters and the art (yes, art!) of screenwriting deserve so much more credit and recognition than they usually get and, at the very least, so much more than this.
Lmao. BTW, “Go” is one of my favorite films ever. Were it not for John’s meticulously detailed notes to Doug Liman (which I’ve read), that film would have went in an entirely different direction, and would not have made the coveted XiMan’s Top 30.
Take that Alba! (BTW, you’re still super hot. And I really loved your perf in “The Killer Inside Me”. In fact, it was the only thing I loved about that preposterous movie.)
Jessica Alba has the IQ of a fruit fly.
Hey, hey, hey….
That is the best laugh I’ve had all day!
I really hope that this was all in the editing. What a sorry thing for an actor to say. There is no movie without the screenplay.
I realize this isn’t a popular stance to take on THIS blog – Deadline – but I support Jessica 100%. Most movies these days are terribly written. They’re awful. What do thespians have to lose by making up their own dialogue? I love the fact that you “writers” consider what you do to be important. It is not. Most of you are just awful at your craft. The screenplay is at its absolute nadir these days.
while comment on Deadline is running against Jessica on themainstream websites like People Magazine and Enertainment Weekly most folks agree with Jessica and think that scripts these days are complete shit.
Jessica, more power to you! You go, girl!
Defender reveals how little he or she knows about the creative process. Most scripts start out great because it takes a lot to get anyone interested enough to sink money in it in the first place. It’s in the note process where input from producers, agents, studio heads, development people and dopey actresses like Ms. Alba where the screenplays get diluted and become “complete sh*t.”
You’re confusing writing dialogue with writing, sista.
Screenwriters come up with the script for the whole movie (including the action, and all the things the actors do whether they’re talking or not), they don’t just come up with dialogue.
I remember Courtney Cox insulting writers recently when she basically said that writers were picky and needy and whiny about our work and always wanted actors to say exactly what was in their scripts, but sometimes they knew better and writers should just shut up about it. I’m paraphrasing, but that was the gist of it. I loved seeing a one note actress like her say that. I mean her acting style on Couger Town is pretty much the same as on Friends. The only difference between the two characters is the writers. Which is why one show was funny and great (Friends) and one isn’t (Couger Town). It’s not her sheer acting brilliance that has made her funny, it’s the writing. Have you ever seen her in real life? She’s monotone and boring. But with a great writer, she can seemingly be hilarious, so she shouldn’t have insulted writers by acting like scripts are simply guidelines or suggestions, and not SCRIPTS.
As for Alba, something here seems a bit off. Perhaps she was misquoted. But if it really is meant as is, then, well….that’s hilarious coming from her.
I disagree, homeboy. Friends was a huge success because of the actors. You could take six different actors and do that show exactly as written and there’s no way it flies. We probably don’t even see the back 9 of the first season. It certainly doesn’t go as long as it did. Remember the shark porn episode? Tip of the iceberg in terms of the badly written episodes of that show, hence no emmy’s for writing. the writing was maybe nominated once in during the whole run of that show. I’m a writer and would love to believe we’re the most essential component, but the truth, especially for TV, is more than half of everything you do in terms of creating a success is in the casting. That’s why main characters on TV shows don’t get killed off as often as they should especially in comedy. The writers? We get killed off all the time.
Friends was a hit because of the actors AND the writers. It’s a collaboration. And it rarely works out well, which is why creating a hit show is like getting lightning in a bottle.
And Cougar Town has gotten to be a pretty fun (if repetitive) show.
Cougar Town is a funny show.
Maybe Jessica’s training to play a black female Vietnam veteran and just watched Tropic Thunder to figure out how to do it. Downey Jr.’s character didn’t read the script either. The script read him.
This is a classic example of what happens when actors speak in public without having a script — some actors, anyway.
Wow. Very classy response to someone who obviously pays too much attention to their press clippings.
Bitchslaps? Hardly.
This is more about his feelings than hers.
“I’m calling this out just so we can all hopefully learn something..”
– He really means SHE can learn something.
Everyone seems to be in agreement that what Miss Alba said is totally wrong and stupid. Based on the fact that no one feels the same way as her, it’s easy to assume that her quote was excerpted.
She was working with Hoffman and DeNiro this summer on that Focker feature, probably when that interview was given. I’m sure that script wasn’t followed line for line by either of them.
I think this was an interview with Vince Vaughn, not Jessica Alba. I think that’s where the mistake was, John.
“My point, a film crew will improvise. Alba was in “Elizabethtown.” (Though the movie didn’t work, it’s hard to say what in Crowe’s script was that different from his script for “Jerry Maguire.” For the record, I like “Elizabethtown” though Orlando Bloom’s performance – an imitation of Cruise, and, thus, likely Crowe’s fault as director – is irritating.) For Vanilla Sky, Crowe said that a Penelope Cruz comment, which poetically told him to buzz off, so charmed him, he put into the script.”
Sorry, Danny0152, that was Kirsten Dunst. Sort of interchangeable in their attractive blandness, though, so I can understand the confusion.
So… Lawrence Olivier didn’t use Shakespeare’s words….? Because he was such a terrible actor you know.
Well, at least I finally understand The Love Guru.
My advice then to screenwriters working with her is to just show her the script with just the words “make something up” in her character’s dialogue.
Lets see how far actors get with this idea. Saves us writers the work and we’d still get paid the same amount. its win win for everyone really. Thanks Alba.
Do that and you’ll have a character that says, “Make something up” 100 times.
SCRIPT VERSION:
“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tanhauser gate. All those moments will be lost in time like tears in rain. Time to die.”
JESSICA’S VERSION:
“I saw some weird shit. This, like, big spaceship was burning up off of an Onion. I checked out a C-bean thing, like, make a sparkle next to some fence. And a whole buncha other things that made me cry when I was in the rain. Ops, gotta go.”
classic.
Funny you should pull out that BLADE RUNNER quote — Rutger Hauer supposedly wrote (or at least rewrote) that himself right before filming the scene.
YES.
@Words-O-wisdom, Lloyd Part2
I believe you make Jessica’s argument for her. The wonderful Rutger Hauer ad libbed those lines.
Just saying.
Dear Jessica and J,
You are only partially correct. Nearly all of what Rutger said was from the original script — however, Rutger convinced Scott to snip it up a bit and then wrote the “tears in the rain” line.
Next time I will use Robert Shaw’s lines from the U.S.S. Indianapolis monologue in “Jaws” as an example. Or maybe Brando’s lines in “Apocalypse Now.”
Or most of Brando’s performance in LAST TANGO IN PARIS.
Actually I thought “tears in the rain” was a little sappy. that aside, it’s one thing for a fantastic and intelligent actor to do his own writing or help with a rewrite, and it’s another thing for a very limited actress to insist on ad-libbing.
Even when actors ad-lib, they’re still inhabiting characters that the writers created, in situations the writer put them in, pursuing goals the writer gave them.
Ad-lib all you want, tweak dialogue all you want — don’t pretend you’re doing the work of a writer.
People continue to point to Rutger H’s speech at the end of BLADE RUNNER as some kind of model example of great writing but it’s not. It is pretentious bullshit.
You could have picked virtually ANY chunk of dialogue from CHINATOWN, CASABLANCA, DOUBLE INDEMNITY, ARTHUR, THREE DAYS OF THE CONDOR, OUT OF THE PAST, BUTCH CASSIDY AND THE SUNDANCE KID or any the hundreds of other beautifully scripted movies this town has turned out since Jolson started singing back in 1927 to make your point…
But you had to pick the speech with the jibber jabber.
Wow. What a remarkably stupid thing for Alba to say.
Also how long have screenwriters been called scripters?