Script Quotations | Page 3

I have always tried to work according to what affects me, to a script that I like because it touches me in some way, without deliberately pursuing a commercial career or a particular image.

We take the ride, just like someone who watches the show takes the ride. We live the show script by script.

I loved 'Independence Day' and I've liked disaster movies since I was a kid. And to do one with those guys... why not? But I think 'Godzilla' with people who I didn't know anything about, I might have been worried, because it could have been who knows? But I read the script and thought it was really exciting and hey, I wasn't doing anything and it seemed like a very good thing to do.

I actually, when I read the script I knew it was going to be a big hit. In my gut, my gut said that this show was going to be it.

Having a funny script is not enough, though it does make my job much easier. Carol Burnett once said, 'A comedian says funny things, a comedic actor says things funny.' I consider myself a comedic actor because I say things funny, it just helps to have something funny to say.

He'd been struggling and I'm so happy for the lift he gave this team as a senior in a championship game. You couldn't script it better than that. I'm so proud of the way he stepped up in this game.

He'd call you and say he had a problem with your script 45 minutes before you were going on the air. Part of it was to remind you who the alpha dog was, but he also saw it as a mentoring thing. If you're going to get your piece on ABC News, you had better know your story backward and forward. That's why he was famous for asking obscure questions.

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.

He tried as best as possible to stick to the Fed script and to avoid making waves.

If someone had written this script you wouldn't believe it.

Hollywood is sort of a small, little town, and doing things like that - like writing a play or selling a script - those are the little things people see.

His words to me were: 'I wrote the script with you in mind.' I am truly excited about the possibility of playing Mason Dixon, and we're getting ready to work an entirely different stage, baby.

There is always something funny going on between scenes with Adam Sandler. He's always cracking jokes and yelling at people for no reason. It's pretty funny. He'll joke around during scenes, too. When he guest-starred on 'Jessie,' there was nothing in the script that he said first take.

He said, 'Hey dude, I wrote this script. Would you consider doing it?' I asked him to talk to me next Wednesday and went on the road for the weekend. He hit me up and I told him that the script was great. I hadn't even read it.

If I read a script that I have enormous respect for and I don't know what to do to it, then I'm going to be honest about that.

If I read the right script, if that script needs $5 million, if that script needs $50 million, I don't care. If I read a project that's beautiful, that I really want to make, whatever it needs, it needs.

I find it exhilarating to pick up the script on my front porch and read it for the first time and see what the story is all about.

We can do it. We've done it before. I wish the kids would quit writing this script for me. I'm not as young as these guys, this pressure is not good for me. But if we can come back again, I'll take it.

We can get verification that they're approved and whether or not we can get the insurance to go through right then or not we still can fill the script and do the nightmare later.

John Carpenter liked my work, and he needed some kind of name for the picture. The script was good, and I immediately liked John, so I did it.

My plan was to go to New York and do some theatre, and then I got the script for 'Psych.' I was like, 'Ahh - just as I thought I was out, you pulled me back in!' I had a great meeting with the show creator and we laid out the parameters to make the show work: what I would do, what he would let me do.

Like watching the Jesse Ventura show. It's too bad you couldn't get the White House Press Corps to work from a script like that. Dana Milbank of the Washington Post will be along presently to try to figure out who thought that was a good idea. But first, wait, there's more from the fog of war, playing three acts, to White House Press Room unscripted. The first topic there was, guess what, whether or not the whole deal with the soldiers had been rehearsed. Once again, you are there.

Mark took most of the script and looked good. I'm sure that's the way we'll start.

I sat with Morgan Freeman to talk about a script that he put together for both of us,

Steven Spielberg and I now have a script in hand that we both like. I believe that we can start with the filming soon.

(Region III) didn't go as a lot of people scripted it, but that was how our script was laid out. A lot of people were surprised, but I don't think it is a fluke that we won.

I wrote a script that I thought had a lot of potential,

My Writers Guild of America card is one of my proudest possessions. I was given it after being invited to write the script for a film of my last novel, 'Me Before You,' which is being made by MGM. Whenever I look at it, I think, 'I'm a Hollywood writer!'

My number one passion is acting, but I also think there's something so special in being able to support a script and an idea and take it all the way through to fruition. I think that process is so rewarding.

I think that it's fun to get the script and open it like a Christmas present. That's 'Alcatraz' or anything that I'm working on. If the groundwork has been laid too much, the surprises aren't there.

I talked to my agent and said that, basically, I'm the Taylor Lautner of TV. We both have our shirts off a lot. And we have the same agent, so we goof around about it. I'm waiting to open a script and see my shirt on.

I swore I'd never do another hour show... until I read the first page of this script and I just hooked into Lily's character so much and the writing.

I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.

I think it's much more likely that he will do an Indy movie before he does Lincoln . The Lincoln script is not as far in the development stage and...frankly, Steven may not want to do another serious movie after doing a Munich .

I think Apple did the right thing. The fact that a script gets executed automatically had to be fixed immediately. They just have to go further.

Roger is much closer to David Niven, Cary Grant - gentleman type of actors. So we built the script around that, more lightly. It would have been ridiculous to ask Roger to mimic Sean's style. He had to develop his own.

I was in bed, and I got the script and I was reading it, and I said, 'Man, this is really good, there's no way I'll get hired for this!'

I was very ambitious, and I wrote a script that was 180 pages,

I think I can get a script to him, ... He's my wife's cousin.

I still felt it was a series, so I woke up every morning at 4:30 before I went to my other job and I wrote. (Eventually) I kind of thought it was over. And then I had lunch with some people at NBC who complimented me on the script and I said, 'Well, let's do it' and to their credit they decided to do it. It was nice that it came back to life.

I was excited by how heavily involved Jim Mangold had been with John in writing the script and how Jim was determined to get it right. That really meant a lot. It took some of the pressure off, because John was someone whose integrity you could always sense. People appreciated John's genuineness.

I think that's a great opportunity, to pick a script where you can build up a good skill. I think the main thing I look for when I look at scripts is if it's inspirational. If it's something that teenagers can relate to. And is it something that the audience is going to get something out of. If not, then it's really not worth doing.

I think the Mariners have made it clear that he's not part of their plans. That's their prerogative. As far as Bucky is concerned, he's appreciative. They let him live his dream. He just would have written the end of the script differently.

It has a good script now, so we should have that one up and running next year for release in 2008.

I was a terrible little do-gooder, saccharine, most unreal kind of a character - except once in a while a director or script or combination of the two came along where I began to look like something else and sound like something else.

I wasn't involved, except to the degree that they sent me drafts of the script as the writer turned them in. They asked me at one point to write a memo about what I thought of it.

Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.

We have the script in hand and it would be great if Sean were on board.

When I received the script for 'The Weather Man,' I thought, 'Oh well, here's a parallel.' Sometimes I choose movies that help me do something positive with a negative emotion. And 'The Weather Man' was an opportunity to take this well of feeling that I had and just funnel it.

Yeah, the guy that wrote the script is John Hoffman. He wrote and directed. He's one of my best friends in LA. So he asked my if I could play the mom. I think he's such a good writer. It's a kid's movie, but it's written really beautifully. There are moments when I was like, this is so sweet. I really feel it's great to see live action like that for kids. It's moving and makes you think. I found it so touching when I read it.

The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.

The problem is that you can't really read a script saying, 'Hmmm, I'll just see what this is.' You have to go right into it; you have to get engaged with it, and once you are engaged, you want to do it! It's really difficult to get uninvolved.

We didn't see any benefit to following the script verbatim. We just felt we had more freedom in what we could bring the gaming world if we went outside the set script.

To grace my father's number, pitch in a Tigers uniform and get my first win (as a Tiger) and have him in the stands, you can't script it any better than that.

We're working on Dungeon Siege right now, and we have a great script for Far Cry done already and we're hoping to go into production next year.

We can't guard anybody. We don't do a good job of getting back. We have trouble keeping people in front and it's almost like people script plays against us.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.

My biggest thing is telling a truthful story, something that is rooted in something and is very honest. If I read a script and you want me to take off my top, and it doesn't serve a purpose, then I'm not going to do it.

When I first read the script for 'A Little Chaos,' I just loved reading it, as it is a really lovely, accessible, contemporary period film.

You are encouraged to be creative. I was creating something I enjoy, and it clicked with the script committee. You sometimes have a good idea on paper, but it doesn't work on stage. That's when it's great to have the wonderful and supportive people here. If they had a suggestion, it was welcome, and they helped put the show together.

That was a fun script and a lot of great Irish actors.

That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.

The product is aimed at benefiting over 1.5 billion non-English speaking people in South Asia, including Nepal, Bangladesh and Sri Lanka besides other phonetic script users.

There are a lot of films that explore sci-fi, ... What attracted me to the script is the fact that this film stands on its own. The characters and their relationships are interesting by themselves, without the creature element. In many ways it's a modern day 'Lord of the Flies.'

We usually do a rehearsal on Friday night so Garrison has a chance to hear what he's written, and then he'll do a rewrite overnight. Sometimes it can be a totally new script for the pre-show rehearsal on Saturday.

When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.

When we read the script for Re-Animated , we thought it was innovative, irreverent and, most of all, funny. We knew we had to make it. We think when it's done the 'Cartoon Network' way, kids will enjoy seeing animation and the real world collide.

This script is a real thriller that pulled me in right from the beginning. The 'what if' premise delivers on the edge of your seat anticipation, and is a perfect fit for the channel. Joe Miller's journey, fueled by a father's desperate search for his missing daughter, is compelling storytelling that will truly engage the audience.

We are not off to a good start. We just won one football game. We have a chance to write the script on what a good start is. We play Minnesota next week, and now that is our focus.

When a book is written, it's a final product. But, when a script is finished, it's really just a blueprint. And it's an extraordinary experience for me to watch someone take what I wrote and imagined and make it three-dimensional. And it's great if someone adds something I hadn't thought of.

We became a little obsessed with what we could do with these new toys, ... We didn't give the attention that we should to the characters. . . . The thing that was wrong with 'Godzilla' was the script I wrote, and it was a powerful lesson for me.

When a script like 'Hardflip' comes along, with a real depiction of the rewards of a father-son relationship but also the difficulties of building one, you have my attention.

When I get cast, I always flip to the end of the script to see if my character gets beaten up or killed.

When I was a kid, I wanted to be That Girl. I even wrote a spec script for it and sent it to Sam Denoff.

When I was a kid, I wrote to the BBC, and the producers sent me a huge package through the post with 'Doctor Who' scripts. I'd never even seen a script and couldn't believe that they actually wrote this stuff down. It sort of opened a door.

The real problem is Netscape Communicator taking a powerful script and putting it out on your computer in a locale where any Web site can find it out and run it.

We believe that we are developing a script that is certain to please the Saw franchise?s core fans while adding fresh, terrifying and unimaginable new twists to the Saw saga. Jigsaw himself would be proud.

We're still writing the script to see if there's enough for a third one, or if we're just going to do a second one, ... We're supposed to shoot in January, but we might do it earlier if we keep working at this clip.

With a bad script and even the best cast, the most you can hope for is to turn a sow's ear into a silk purse.

With a good script, a good director can produce a masterpiece. With the same script, a mediocre director can produce a passable film. But with a bad script even a good director can't possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. The script must be something that has the power to do this

We don't operate off a script or know where this is headed.

We have been discussing story lines that extend the 'Saw' franchise to new limits and beyond. The most important element of any franchise is remaining true to the roots of its success. We believe that we are developing a script that is certain to please the 'Saw' franchise's core fans while adding fresh, terrifying and unimaginable new twists to the 'Saw' saga.

When I was doing "8mm", my agents called me and said, "There's this hot script by Larry Cohen, and there's a bidding war for it. Fox is in the lead and if they get it, they want to do it with Mel Gibson and they want you to direct it.

This will be a soap opera, with no one writing the script - stay tuned.

There can be a whole script of excuses, but the bottom line is, we've got to do better.

We're not militant, but there are certain things that are absolutely secret. There was a pilot printed on red paper, and I read everything on my iPad and have a scanner on my desk for these purposes. I scanned in the script, and red paper script scans in perfectly fine.

When he first started - Jim Henson, who created Bid Bird and Oscar - he said Big Bird was just a big, goofy guy. And it was - a script came along and I said, 'I think Big Bird would be much more useful to the show if he were a child learning all the things we were teaching in the show.' And so he didn't know the alphabet, even, for instance.

We've got most of our stuff in now. We've had a little more time to jell. We'll script our first 20 plays. Of course, you have to get a feel for the game, which is why we've rarely gotten through our 20 plays without making changes.

We were developing the script right up to, and through, the first weeks of filming. I'd rehearse, then instead of being able to go back to the apartment and relax, I'd have to go to a script meeting or check one of the sets. It was hard, but it was really satisfying. I would love to produce something without also having to be the lead actor in it. I said at the wrap party, 'This has really been a wonderful experience ... and I never want to do it again!' That's until the next time, of course.

When I was in primary school, I was given a five-line script in 'Anansi the Spider Man,' and I decided to just improv and make it my own. For a second, I felt like Kevin Hart because everyone was laughing. I just continued to do it. Why not?

We're getting the script in a few weeks, and if everything goes fine and that script goes in the right direction, it could indeed be my next one.

We're getting the script together, and there will be some of the usual characters: a Chief, 99, CONTROL and KAOS, ... The script has to be there before we want to make it, but Steve will make it funny.

We write a very strong script. The dialogue just doesn't exist within it. We give the script to the actors and they have a few days to chew on it. Dialogue is never written down. It's generated while we're shooting. We'll throw the actors a line and see where they take it. They bring lines of their own.

We wrote the script very quick, in a couple of weeks.

Unless kids are going on the Web page, I am not worried about it. I don't think she will write a script with kiddie porn in it.

We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.

We started out thinking of this as a comic book. We filled notebook after notebook with ideas. That's where the script came from.

Yes, I have something else that I produced and he directed. We have something else that we're trying to get off the ground that we have a script for.

Bob Fosse told me if you open a musical script and there's more than a page or a page-and-a-half of text, you better tear off the paper there and stick in a number, because that's as long as people want to wait before you show them something,

did not include the recruitment of the children, and when we were filming, in the scene where the children are lying down on top of the roofs, I asked, 'Oscar, why are they on the roofs?' and he said, 'Because the army was coming to take them away,' and he hadn't included that in the script because for him it wasn't important, it was everyday life.