Scripts Quotations | Page 6

I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.

I really respond to human scripts, scripts that are raw and real and risky. I love playing scary characters - not horror film scary, but vulnerable scary.

In the biopic scripts, we did address heroin, which was part of her life. To tell you the honest truth, those scripts didn't work.

I just wanted to tell everyone that our company makes art-house movies apart from commercial movies. So I will consider any good scripts you have.

I get an inordinate amount of, diplomatically, let's say odd, mail and scripts and treatments and story ideas and theories and theorems.

I write to music, so every script I have has its own playlist. Music just opens me up to the emotions that I'm writing.

As a character, you're working within the realm of what's on the [script] page.

Because of the way the business is structured, I have sometimes turned down scripts that I might otherwise have accepted had I known who was directing them.

I look for a director with a script he likes a lot, but I'm probably after the directors more than anything.

I suppose I can do more for a script as an actor than as a writer - in the film sense.

I prefer doing original scripts because I totally control the story - it's all mine. Films don't work like that but television does.

I have thus decided to make a certain film and now begins the complicated and difficult-to-master work. To transfer rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences in a readable or at least understandable script. This is difficult but not impossible.

I don't know if it's that the scripts are evolving or just that I'm getting older, but the characters become more interesting as you get older because you've lived more life at different stages. You've loved; you've lost; you have more of that journey.

I read a lot of bad scripts and weird television shows. I don't know. There's a lot of work out there I was reading at 14 years old and noticing this lack of thought. And then, reading 'Afterschool,' that's full of thought. It was bursting with ideas.

I read scripts from everywhere and I decide upon the content and the quality by my standards, as to whether I like it or not.

I read the scripts and I shoot the show, yet I miss so many jokes. It moves so quickly-you have to pay attention to every little joke.

Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that.

I read the script of [Woman Under the Influence ] 50 times. And I thought about it. And then I did it.

Well, I love TV, and I love a good script.

There've been moments where I just was tired of being in L.A. It was very difficult. I mean, you're constantly rejected. And that's OK, it's just really frustrating for me, because I try to read scripts and projects that have really great, deeper, meaningful qualities to them.

They will have to think through their scripts and make their own judgments just as newspaper editors and TV producers do.

They are unscripted dramas, ... ... Whether it is the cavemen in the caves thousands of years ago, Shakespeare plays, television, movies and books, stories and characters take us on a journey. All I do is tell those stories without scripts and without actors.

Fox came to us with the concept for ICE AGE and they came to us with the first draft of the script. They also gave us a mandate to make it into a comedy from what was previously a rather dramatic action concept.

I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.

The script is your map of the world, isn't it? And if someone knows that if it's well-written, you get all of the beats, it will tell you everything you need to know.

I have a large personal collection of pictures. For every project, I choose images. Usually I don't do this until I've done an extensive script breakdown and distilled the text down to poetic form. I have to plant enough seeds so that there will be vibration.

Mine is studying script and being very academic and trying to be important.

As far as actually writing scripts or stories... now scenarios, most people have ideas for scenarios that could be the basis for a film.

Aetna has alluded that it may exercise this option. Express Scripts wants them to keep the current relationship, with itself as owner.

The curse of being on Frasier is the challenge of finding writing that's that good in any other medium. I've been looking at scripts for two years.

'The Glass Menagerie' by Tennessee Williams is a great play. I had to read it for school when I was younger, but I started writing scripts after that. That's what got me into writing.

'The Inbetweeners' would have been a success with a totally different cast because the scripts are good - so while we were fortunate enough to be cast in it, we feel we still have a lot to prove.

The Hollywood model is to develop scripts for 10 years, sell them, transfer them, attach this actor, then attach a director. This isn't what I'm about. I'm much more of a creator and a doer.

I don't know if I'm always going to be acting. Maybe when I grow up, I will be a scriptwriter. I already have a few scripts in my head.

Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.

I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class.

You can open scripts created by screenwriting software like Final Draft. You can then audition all the takes for an individual line. When you get the reading you like best, you double click and add that to the timeline.

You know, the better scripts I've seen lately have been comedy scripts.

When I read the scripts, I'm always so excited to see what's going to happen because it's unpredictable.

It's one of the most beautiful scripts [Brokeback Mountain] I've ever read, and it was Ang Lee, and at the time Heath [Ledger] was a friend of mine - before we even shot the movie - and always sort of alluring to me.

I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.

Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.

Id love to work in the States; Id love to work anywhere where you get a good script and a good part to play. But I do love British film as well.

If a script writer had come up with a story resembling what you have just achieved, even the Hollywood studios would have refused.

When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.

I'd never read a piece of television where it's an hour script and it's perfect.

Lots of scripts are written and not made, even scripts that people want to make.

I'm not staying away from any genre. I'm trying to get scripts that I like.

A lot of the time, I won't read the script until my second or third audition just 'cause a lot of the scripts are the same and the characters are the same.

A lot of times, the script is the thing they care about least.

Without being good enough, I started figuring out how to make my way through the minefield of a script, which is the rest is semi-history.

When I was working on Big Fan, I didnt really feel like any lines needed to be changed or enhanced or expanded upon in any way. I thought it was a solid script. All you had to do was what it said.

We're all clichés, all following scripts that have been written and played out long before we landed the role.

When you're shooting 20-odd episodes in a season, the last thing you want is for each script to be the same tone.

You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.

There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations.

The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.

You either learn your way towards writing your own script in life, or you unwittingly become an actor in someone else's script.

Even if the script's well written there's something about the life of an improvisation that resonates better than a written word, sometimes.

For every three scripts that you get through, one will be made, and that doesn't even necessarily mean that they're going to cast you in it.

It's like a great big snowball behind you trying to get the stories and the scripts and the actors and everything else and you're so engrossed and so immersed in a project like that and when you get out and you start looking around everything kind of went... whoa, what happened? Where did that go?

It's very difficult to find good scripts in Hollywood any more.

As an executive producer who's not a writer, my responsibilities are obviously to hire the best people for the jobs and to contribute notes to the scripts and then to the cuts as the shows come in.

We try not to have too much. I've looked at first drafts of scripts where there's too much, and then I've looked at first drafts of scripts where it's too little and it starts to not feel like our show. So there's definitely a balance you try to find.

We sort of shut the company down for three or four weeks so that, as a writing group, we could take a deep breath and have a little time to think and plan and get some new material working so that when we came back into production, we could come back into a much more normalized kind of production schedule, which I think we did. And I think the scripts are really good. So given the givens, I think it was as good of a transition as you could have hoped for.

It's a beautiful way to work. As an actor you don't have to trick yourself if you only know as much as your character knows. So I look forward to the scripts like the audience looks forward to the episodes.

It was a sort of organic thing. I never went, 'I must be an actress.' I thought, 'I think I could do this. I think I could be good at this.' I would just get sort of hungry when I read something I thought I can do well, whether it was in books or in scripts or if I saw a certain movie. It sort of happened quite naturally.

We had a hit list of people we approached, ... We told them some of the ideas we had. Because we spent such a long time writing the scripts for each episode, it would be mad to spend three months on a script for Sam Jackson, send it to him, and he goes, 'Why would I do that?' So we got a preliminary yes out of them, and then went way, wrote the ideas, spoke to them on the phone, sent them the script, and they all said yes.

There were many tough guys to play in the scripts that Warner kept assigning me. Each of my subsequent roles in the hoodlum genre offered the opportunity to inject something new, which I always tired to do. One could be funny, and the next one flat. Some roles were mean, and others were meaner.

They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.

I feed on other people's creativity, photographers, artists of every kind. Sometimes a feeling that you get listening to a song can be so powerful. I've wanted to write whole scripts around what I felt just listening to a piece of music. I think music is important, and surrounding your visual field with stimulating things.

I'd get scripts and think: 'What's the point of this?'

I don't want to see this end at this project. I am so excited about the enthusiasm of this group; I've seen a couple of scripts and my jaw has dropped. (This) is a group that came together with chaotic synergy.

I always want to read the script before I totally commit.

Actors tend to not know how their performances are going to actually be used. Even though the script says one thing, in the edit, it can be something else.

I sold my first script when I was 21 - this kids' adventure movie that never got made. I just bought that one back, actually. I'm pretty psyched about it.

Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.

I'm not fixed in any genre. I love all kinds of films. The essential thing is; you have to have good material. If you have the filmmaker, and the material, and the script is good, you can start from there.

I read a lot of scripts. I believe you've got to read one that you know you're not going to do, because you've got to educate yourself on what's out there to make the best decision for you.

All of the good movies are based on how that story was told. And you cannot do it with a bad script, that's for sure, no matter who.

You are the vibrational writers of the script of your life, and everyone else in the Universe is playing the part that you have assigned to them.

The padded outfits, the bad scripts, the phony-looking sets... he dealt with it all. He had to. He was Superman.

You stick to the script, the script is Bible.

I read a script and I know immediately whether that role is for me or not.

The emotion is the music and the script is the libretto.

Here's the thing - you can't be careful about what you pick because what looks like on paper is going to be a great script has often turned out to be a disaster, so there's no way to know what's going to work or to pick the right thing.

Knowledge is honestly everything. It's not just books and staying behind a desk and having a diploma. There's also traveling and knowledge about people, and what I do and scripts and books.

Acting, films, scripts, is literally the only thing I’m 100 percent confident in. I know what I’m doing. I just understand it, and I love it. When I’m on set, that’s when I feel the most at home and in control.

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

Sometimes if a script is based on a book, that's what you should do: represent the book.

Yeah, when you're making a film, the book is a good tool, but once you have the script and you're making a movie, you have to let go of the book.

I'd like to think that I have a plan, but you can't really pick what scripts you're going to get or what movie is going to come along.

I reject the word 'script' entirely-at any rate in the usual sense. I prefer the old usage-usually scenario-which it had in the Commedia dell'Arte, meaning an outline or scheme: it implies a dynamism, a number of ideas and principles from which one can set out to find the best possible approach to filming.

A director should cast a person who fits into their script.

I don't look at scripts. I just write them.

It's never a script that makes me decide to accept a film or not.

I actually had a chance to be in Delta Farce, but I couldn't do it because I read the script.

I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.

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.

If a good visionary wants to jump on board with that and I see their vision correctly and I like it and I like the script, I would absolutely do it but I have to read the script first.