Script Quotations | Page 4

Don't know, don't know. No way to tell. I'd like to say we'd be up five games and they'd be starting to chill the champagne right now, but I have no idea, ... There's no way to tell. That's why we have to go out there and actually do it. You can't write the script in this game.

Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.

There has also been an exploit for the Safari web browser, which makes it possible to launch a script and execute commands on the user's computer. It therefore seems clear that OS X may be fertile soil for security researchers.

Video game voicing is absolutely different from cartoon work. In cartoons, you're almost always there with the entire cast, and the entire script is acted out in sequence. With video games, it's you by yourself, in a room with a script you just got when you walked in.

Even though, by their own admission, the people who voted for that script didn't think it was the best script, it probably was the smartest movie to choose because it does, in an odd way, give the project the greatest chance of surviving, because the movie might actually make money.

To get that script as my first movie was just amazing.

We don't script what these guys say. We play to the strengths of the instructors. We developed the curriculum so they teach what they know best.

When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.

When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.

When I read the script I thought it was so much fun, and it?s the best soap in the country

When I read the script of Chandler, I thought WOW I can really shake hands with this guy. Chandlers a sarcastic guy, dry, funny - a guy who's not comfortable unless he's joking and hiding the emotional stuff that's going on with him. And Yeah, I can relate to that a bit.

When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.

When I take on a role, all I tend to do is get to know the script and ask millions of questions, and keep fine tuning what I think the character is trying to say.

I started to work on a feature-length script about pirates in Somalia, but I knew that there was something I was missing, which was that I didn't know what day-to-day life looked like and felt like in East Africa. So I decided I had to go.

I used to say yes to everything. Now I have to be excited about a script before I accept a role. I've been able to let a lot of things go-like worrying-in a good way. I wish I learned that 'wear-it-like-a-loose-garment' attitude earlier.

I've been reading every script I can get my hands on, so I can come out of the summer with a couple of projects that I'm ready to start.

I've been reading script after script after script,

You cannot read my script and look at that movie, and not get that they took everything from it, ... I'm not saying that two people can't have a concept about a barbershop, but when you have the exact same characters, the exact same plot, that's going a little bit more than just having a general idea.

I spent 18 months, off and on, with the script writer. I might as well have not spent one second with him.

The theme is, 'We're the PGA Tour, we're supporting New Orleans, we look forward to seeing you, we look forward to coming back and we believe in you. We're not trying to script it, but picture six weeks of commercials, with 15 to 20 players saying they're coming to New Orleans. We think it will make an impact.

The show basically charts life. Youthful optimism, brash idealism, first love, setbacks, relationships, the drive to keep on improving one's self and life, ending on an optimistic note for the future. There is no definite script of the show. Instead we follow musical paths.

The short film project I just finished for W Hotels and Intel, I didn't have my script finished until a few days before we began filming. We edited it very quickly and now it's up online. It was great to conceive an idea and have it premiere just a few weeks later, compared to a feature, which takes a year or more.

There are just so many intellectual things with the script that aren't normal, ... breaking all the rules, and it still works.

I've worked on all sorts of things, like the sci-fi stuff for Vin Diesel, where the script is numbered and is in unphotocopy-able colours and your name is stamped into every page. And it doesn't really help because it creates a false sense of specialness about the thing.

I've seen two of his films, and his work is extremely high quality. He'll go so far as to let me preview the script to make sure there's nothing offensive in it, like he did with the one shot at the school during the summer. We try to make students responsible for their own learning, and give them every opportunity to make the choices for what they want to do. We definitely encourage him.

The screenplay is not much different than the script for the touring stage play. I helped the film director to cast the roles and I made some script changes during the filming. As it turned out, the actors who performed the touring stage play in Albuquerque were also cast in the movie.

The script came along and it was funny and it gave me the chance to play an outrageous character and I've never done anything before quite like her,

The script doesn't spoof the movie entirely. It just walks a really fine line where they're playing that style to the hilt, so some of it is quite funny.

The script for 'Thirteen' is tight, and not because of the now-famous six day writing spree, but more because it started out as 15 pages longer.

The script humanizes Marx and his ideas of a socialist society. It is generally well received by audiences because the author does an excellent job disarming the subject and truthfully interprets Marx's life.

The script is always the main preparation for me. Sometimes you have a period piece where you have to research around it, but if the writers have done their homework well enough, the information is all in the script.

The script is the bible. If you imagine setting off on an adventure in a canoe, the script is the strong arms that shove you out into the stream. It is the map of where you are going.

The script is very good because the things that happen in it are very believable to me. It doesn't presuppose that the world has changed very much. You don't have to think that you're in a different world.

The script made me cry, ... Parts of it were so hard to read, yet other parts were uplifting.

The script right now, if you took it to Hollywood they'd turn it down, saying it couldn't happen.

The script was about 100 pages. I mean, we could have padded it if we wanted to. But I don't think that would make a better movie... .I mean, it's a guy in a phone booth.

The script was a synthesis of making mythology relevant in a modern context, relating quantum physics to Zen Buddhism, investigating your own life.

The script was too disturbing. We showed it to some people in Hollywood who said, This is a bad idea. I can't make this. I'm rich.

The script was very explicit about the nudity that was supposed to be in the movie. Actually, they don't show everything we shot. They would cut here and it was floored. It was very embarrassing.

There won't be any change in the script the Fed has laid out, ... Export growth has weakened and there is a lid on wage growth. This data takes some pressure off of the more hawkish Fed members.

There won't be any change in the script the Fed has laid out. Export growth has weakened and there is a lid on wage growth. This data takes some pressure off of the more hawkish Fed members.

It was three years after I'd finished the script for Gregory's Girl that I got to make it, but I prefer That Sinking Feeling as a film.

You have to be careful so you don't make your character dull and predictable. Sometimes you have to bend the script a little... The bad guys are mostly the same on the paper... A bad guy wouldn't think of himself as bad.

What appealed to me about 'The Loved Ones' script was that it had this really theatrical element to it. I thought that the scope of this character is so broad, and there is so much fun to be had playing a crazy teenage loner. It was a great way to explore the delusions a mind can create.

Use due diligence. Check out a few instructors and cross compare. There needs to be more happening in a class than just the physical part. They don?t need certification, but should at least know both the common and sand script names of each posture.

You do small movies because the script is good and because you believe in the director. You don't care about the money. And when they disappear, it's a pity.

We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.

We all had our reservations about possibly overdoing it but, you know, the script was great. Basically it stuck to the formula that worked for the first two movies, and for that reason I think this works as well.

There is no script at all for what's said on camera,

The original script envisioned this men-on-a-mission story like 'Guns of Navarone' or 'The Dirty Dozen,' with 12 people instead of 120, ... But the actual events were pretty spectacular, so we told Miramax, 'You've got an amazing piece of material here; we should try to tell it as accurately as possible.'

Um, ... Nobody has a script yet, so...

We had a script reading, and that's where we met J.K. Rowling, which was really exciting.

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

You can kind of tell what's working and what isn't. We work on part of the script ourselves and then switch. And we rewrite each other's stuff.

Before I started drawing a comic, I would read my script for it ten or twenty times.

Being an actor myself I realize that all actors believe they are qualified to play any role. If you showed me a script with a black woman character I would tell you that I could do it. That is what we do. We act as if we are someone else.

Every time I read the script I would get goose bumps, ... It was the idea that this life, this change of fortune, had actually happened. It was real.

Everything I do with my day is related to Superwoman. I'm either doing conference calls or writing a script or reading a script, editing a video, shooting a video.

We had pretty high expectations before the season. You hope it's right, but I don't know if anybody could have written a better script than how it turned out.

We did a lot of work because the original script, ... The premise was really interesting but the script needed magic. It needed real fairytale, it needed a real sense of the wonder of that world, and working with Lance and people was, we worked our way towards this thing. It was quite organic really, we built this film.

The thing with making your art your business is: It's a business. You can't sit around waiting for the muse, especially when you run a show, and you're in production, and an outline is due, a script is due, and a reshoot is due. No. You look at the calendar, and you go, 'OK. I can write from 4 to 6.' So you write.

I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.

Offenses may come up with a 20- or 25-play script to start a game. They add specific formations to see a defense react to it and use a specific motion to see what you are ready for. Really, those first 20 or 25 scripted plays may not have anything to do with down and distance. So, it is more reactive in a sense on offense, to see what the reaction will be.

Somebody wrote a script around us, but Dustin Abraham came with the best one.

Film and television are just different. Film is cool because it's a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so it's constantly a mystery as to what you're going to be doing.

With 'Suffragette,' I felt that a female writer would be good, and considering the subject matter, who would be better to write the script than Abi Morgan? She was the first choice, and she happens to be a woman.

Acting is a communal art. In the end, it not only requires the actors, director, technicians and a script and the playwright, but the audience. It's different with every performance. It's fresh and it's living. It's a great rush and very invigorating.

Souls have agreed to come in and live out a certain script and to leave and to affect change - whether it's in one family or a million people.

So we had a couple of long conversations in France and once I thought this script was in pretty good shape, I sent it to her. I knew I wanted Glenn from the beginning. In fact, I had tried to gear the character towards her. Glenn is a single mom who lives in New York and does theater and film. She's a very strong, intelligent person in the way that Diana (her character) is, so I think she made herself very vulnerable to play this part.

I've learnt that I've had the best results from just trying to be me, trying to make a movie or TV show I want to see or write a script I want to read, and that's really all I can offer - being authentic.

The most frustrating thing is picking up a script and loving the roles in it except the female ones... It's really annoying and something I've striven to change in the industry.

Alex made the picture fresh, which was important. None of us wanted just to shoot the original script again. Alex took it and made it his own.

That gave us the script pretty much that we shot.

As college basketball players at a mid-major level, it's a great feeling. You couldn't ask for a greater script to this season.

A script is so word-heavy, after trying to communicate so much verbally, I think you need a different outlet to give the verbal centre of your brain a chance to cool off.

As for tweeting and texting: impassioned discussions, particularly when they're intimate, don't work in abbreviated script messages. No relationship should begin or end in 140 characters.

a lot of design work has been done on it. The script is gigantic.

A lot of fans are curious about the origins of the poncho. In the original script, he'd taken the poncho from a man taking a bath by the side of a river. But that scene was never shot. So we have the script explaining it all - in Italian.

They put it on the page because it sounded good or it looked good or they read it in a book somewhere that this is how you structure a script or something, and they just don't get it. It's surprising.

They're still working on the script - they've got to get that nailed down and they want the first movie to come out obviously, not get too ahead of themselves. But yeah, it's looking good. I love the second book a lot as well, so kind of diving into that is awesome.

'Quantum of Solace' was a bit of a different circumstance than a lot of my other films because you're stepping into a franchise, and also in that particular film, we're dealing with a script from the writer's strike, which was difficult to handle because there was never time to really develop a finished script.

Right now, we're working on a script for my life story and two kids coming from Haiti to America. One turns out to be a musician, one is a gangster. That's all I can say.

'Sabotage' was a work for hire. It wasn't my original idea or script or anything.

Felicity is brilliant. She did her prep work and script analysis so well that she could just close her eyes and become (the character) and things happened without her knowing it.

Even Clint Eastwood could not have written a better script that would pit the bulls and the bears against each other over the meaning of today's payroll report, ... The winner, however, may not be known for a while longer since the data is sufficiently murky.

Every time there's been a script written, I've just about done it. I suppose I'm allowed one that I don't get every now and then.

There's one painting that historically would have been better, ... because it was painted at the beginning of the Impressionist movement, and the one we're using is painted later. In the script they say, 'This is a very important painting because it was painted at start of the Impressionists,' and that's not really true. It was painted a few years later. But they selected the painting for purely visual reasons -- that they would capture better on camera, that it was more appealing, that it would catch the eye better.

There's no such thing as easy, but it's easier when a script is good.

To say our script is any one bit better than the others is nuts. It's not a competition, and we all know it.

The 'Pan' script made it to the Black List in 2013.

I've already bought a script - a love story - that I plan to produce.

I usually choose movies that I would want to see. I appreciate drama and if the right script came across my desk, drama you will see.

I usually decide if I'm going to do a movie based on if I like the script or not. I thought 'Pulling Strings' had every single element that a classic romantic comedy needs to be a success. It's very well written. The cast was amazing. It was a decision I made based on the power of the script.

They sent me the script and I was really charmed by it and I signed on.

They sent the material to me as an actress, ... I liked it so much, and I identified with the character and the script so much, I thought: I don't want anybody else telling me what to do, so can I please direct this?

They were extremely helpful, ... They helped with the dialogue and making the script as real as possible. It was a collaborative effort.

They were flipping the script with respect to whose interests they were going to protect. He was in the thick of it.

You read a script and its based on Reservoir Dogs and Pulp Fiction, and it goes right in the bin.

You read each script as you get it and you try not to contradict what you've done before and keep the sense of evolution present.

This is a situation, in my opinion, where Terry is accustomed to saying African-American. His script writers wrote in 'people of color.' He's trying to go from memory and got confused and said