Scripts Quotations | Page 4

Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.

Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages.

I feel that I don't have to wait around for good scripts anymore, that I can get things moving more quickly. I can ring up directors I like and say I'm keen to work with them, which is pretty great.

I get sent a lot of scripts which feature him as a kind of all-purpose Victorian literary character and really understand little, if anything, about him, his life or his books.

I don't think any actor has the luxury of knowing exactly what scripts are going to turn out well and what ones aren't. It would be wonderful to have that particular skill, and maybe people like Tom Cruise have it more than most, but you go into each project hoping that a good, if not great, film will come out the other end.

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.

'Hardware' came about because I had written quite a few scripts and hadn't had any luck getting them made.

I actually love the audition process, so I'm so happy to fight for things. I would love to read something that I want to fight for, but lately the scripts are not that compelling.

He clearly memorizes and scripts his statements. That is a test of memorization, not the free-flowing exchange that a debate is intended to be,

I am fortunate that I get sent scripts and get to meet people I would never have met had I not done 'Harry Potter.' But I feel I had to come out of that show and prove that I am not a one trick pony and can do other stuff.

My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.

My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me.

I was advised not to do Scream because no one likes horror movies. Then I heard, 'Don't audition because you can't do this bitchy role,' and 'You're way too friendly, no pun intended.' I was also told, 'Play the girlfriend or the doctor or the lawyer - the nice ones.' Now I'm getting scripts where I'm asked to play characters that are tough as nails, and I love it.

Success is a mental program. Deprogram your negative mind scripts and re-write your own positive scripts to serve your best interest

Our own rendition of the show is made up of parts of three different scripts of the play.

Out of every 10 scripts I get sent, seven are fairly generic about an American guy who gets the girl and is involved in underground espionage activity.

I think, clearly, there is something in the zeitgeist, ... but for us, it was based on producing the best pilot scripts that we had. . . . We don't literally go out to the community and say, 'Because that particular show is successful on another network, please bring us that.' We encourage writers. We encourage producers. We encourage directors. . . . They don't necessarily look to develop only based on what's successful at other networks. They sort of listen to their own inner voice.

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 was a huge Muppet fan growing up. I want to bring it back to the early '80s Muppet movies, when the scripts could have been performed by humans.

When I retired, I was at an in-between age. I wasn't a child anymore, I wasn't really a woman yet, and they weren't really writing scripts for that age.

You learn, even at 'S.N.L.,' that the funniest scripts a lot of the time were written with the actor, because they know what makes people laugh. It's always going to be better if they own it.

We don't have scripts planned that we intend to do - that keeps it fresh.

To have a censor board to read scripts and approve productions that would not only be damaging to us, it would be damaging to the state of Utah.

We couldn't be more excited about working again with Mel and his team. This is one of the most original and unique scripts we've ever had the opportunity to read recently, and we plan for this to be an anchor of our summer schedule.

I would love to be in 'The Hunger Games.' I'm one of the few people who haven't read the books, because unfortunately, I'm not a big book reader. I do read a lot of scripts and I read the script and I loved it. So, yeah, I'd love to be in 'The Hunger Games.'

Meteorologists are pretty faces reading scripts telling you whether it's going to rain tomorrow.

I would take a bad script and a good director any day against a good script and a bad director.

Robert De Niro taught me how to listen, and how to be part of the conversation. It's not just about reading your lines and saying what's in the script; you have to understand your character, along with the other characters so that you can always respond.

I learned that you really don't have any control as a writer. Waah, waah, waah. Big deal. Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control. As someone who's just writing scripts, you just kind of have to shrug. I have no problems or issues with screenwriting in general. It is what it is.

I feel as though my career really hit its high point when I was cast as a supporting actress in 'American Wedding'. I thought the script had a lot of depth and intelligence, and it really just jumped off the page

My easiest judgment for a script is 'do I want to keep reading it?'

Often in television, you read a script and you're amazed that you get the scene given to you.

What's been exciting for me is to read the scripts.

There is no script. Live your life. Soak it all in.

It's weird how an actor can read a script and think 'it's really good, it's really funny, that's going to be really dramatic...' and then you get there and say: "Oh, I have to get in it? I have to get in the water?! Are you kidding?"

Because I've been at it so long and very steadily, I have a lot of credits, but I probably have twice as many scripts that were never made for whatever reason.

In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.

It's always once the script's done in the first two years if it doesn't get going somehow or another, I've never had an old script that someone's made later on.

If you have script problems and you don't fix them by the time you shoot, your script problems are now 40 feet tall.

You can't get a movie made without a script; it's the blueprint to your building.

I wake up to an email from the writers with the new script, and I always get so excited because I know it'll be better all-around than the script from the week before.

Sometimes my interest in working on a film is not always dictated specifically by the character. Sometimes it's simply about wanting to be a part of a vision that I love, or a script that I love. I find exciting and gratifying.

I'm always looking for something very different from anything I've done. I'm attracted to a great script, and not necessarily a great character.

There is definitely a certain cadence to David's work. And as you see more of the episodes, you'll see that his fingerprints are all over scripts and it really makes for entertaining dialogue, and they were awfully fun to say.

I always write the script by myself.

I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.

A comic script is basically a love letter from you to your artist,

"Stuffed and Unstrung" started as a workshop, actually, classes within our company. We found that our puppeteers were not ad libbing as well as traditionally, Jim Henson Company puppeteers have. We're sort of famous for going off script a little bit and ad libbing.

We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor.

It makes a world of difference when you start with an amazing script.

The beats are like scripts, and the raps are my monologue.

Film and television are just different. Film is cool because its 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 its constantly a mystery as to what youre going to be doing.

When you have great scripts, everything is very easy and fun.

Usually, I read the script very often. I think that everything is hiding in the script.

It's hard to find scripts that know what they are from page one to page 115.

The script and the performances and the style all clicked.

While we're working on the script, I never see any films. I make it a point because I don't want to get distracted. I don't want to be influenced, and before I know it, have somebody say, "My God, she plagiarized that line."

I've never seen or heard of a mob sitting down to read a film script.

Nobody goes to a movie and watches the script. There is a lot of other stuff going on.

Everything you look at now, the scripts that come in that you look at, the television scripts are way better than the movie script. The talent is going to television.

Dictum on television scripts: We don't want it good - we want it Tuesday.

I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.

Whether I'm interested [in something] or not, step one is read the script and figure out if a character is someone I'd want to explore or not.

We were all thrown together on this show very rapidly, there was casting then a few days later a meeting where we all got to read the scripts and meet each other. Literally days after that we were on our way to Dallas.

Life actors never rehearse and need no script. A life actor uses only what is available, nothing more, nothing less.

When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie.

Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want.

It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever.

I have a lot of trouble with scripts. I have a lot of trouble imagining things while I'm reading them.

It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.

To make a great film you need three things - the script, the script and the script.

Two weeks ago we couldn't pronounce your name, but you were in the lead in a film that made millions, so we're sending you all these scripts.

There are a lot of scripts that you can like, but rarely are there directors attached when you're in development with something and that's stressful.

Mark and jay Duplass really like to improvise. Even if we beg them to go back to the script, they invariably ask us to go "off the rails," as they like to call it. It's just the way they work. You get a full written script. And it's really, really, really good, so that's why it's kind of peculiar that they always want you to improvise, because if I wrote something that good, I would want everyone to stick to the dialogue that was written.

Usually you read a script and you know somebody who knows somebody who maybe knew that person or met them once.

Every time I get a script in my inbox, it's like a little Christmas present. It's so exciting to see what they've cooked up.

If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.

If we were able to rewrite the script for the reputation of Christianity, I think we would put the emphasis on developing relationships with non-believers, serving them, loving them, and making them feel accepted, only then would we earn the right to share the gospel.

It's an unfair comparison because when things are developed in the UK, they're developed at script stage only.

I've been very fortunate with the scripts I've had and the people I worked with.

I'm one of those actors where usually I'll read a script, and then I'll have a flurry of notes. I'll ask a hundred questions about things, and really get in there and examine it.

Good scripts are hard to find.

Doing a film and saying, I've done a really dark film and now I have to do a comedy... That's not me. If a script comes along and it's dark I'll absolutely do it and take the consequences. I'm not fussed about the image that goes along with it.

I always feel that if you put me in a room with a director and a writer and let me talk about the script, I can give a good account of myself.

But you're not necessarily ever going to be handed a script where you can say: it's all done and perfect

If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script.

More often than not, if you've got a good director and a good script you can't really go wrong.

You can have a great script, or a great director and a bad script, and get a great movie. Nothing really guarantees anything.

Back then, it was more or less we couldn't change a line in our script. We weren't allowed to change lines. Today, actors change everything and won't do parts. It's very different today. Back then, the producers were in charge. Today actors are more in charge.

For the most part I pick movies based on the merit of the script, and the merit of the script only.

It is great to work on different scripts with different directors who have different styles. You get so much experience from that.

Would you believe, I am still offered scripts and projects all the time?

I was a big fan of Joe's film, Narc, so when you hear there's a script coming over from Joe Carnahan, you know it's going to be interesting because he has such a fresh voice.

Great writing attracts great actors. It attracts money. Without a great script, you have nothing.

We were riding so high that there's no place else to go but sort of down for a while, and God willing, up again. And I'd say everyone's entitled, of course, to their opinion. My experience has been the scripts have been great. I think it's been a wonderful year.

When I see an image in my head that compels me, where there's this mystery about what's going to happen next or could happen next, I'll be intrigued. There are so many scripts that you read, and you know exactly what's going to happen, and there aren't too many where you can't tell within the first 20 pages where it's going.

I look forward to every script that comes down the pike.

I'd be just another Marvel fan, only with a little bit bigger smile, when I would get the script and be like, "Oh, my gosh, Agent Coulson knows that?

I looked at a lot of the comics and I tried to just get an idea from that. Not necessarily specifics of what my look would be or what the plan would be because I knew the script was evolving. I then started the discussion with Ken, who had been in discussion with you guys, intimately. And that they'd pared it down.

I usually read a script from an audience perspective first, and then look more closely at the character only.