Scripts Quotations | Page 7

For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.

The secret of making movies is having the strongest possible script.

That's the kind of stuff you are offered today. Scripts that have you mixed up with young men. I find them utterly revolting.

I don't think about better. You just want it to work. You want it to work and you have your guide with the script. You want it to exist and complete...

Triple tonguing? It was sort of invented. It wasnt in the script. It was something that I came up with.

On Phantom... I listened to the music while I was reading the script. And it had just blown me away. I really... I was so excited about it. It's been a long time since I really got so excited about something.

I can't stand innuendo. If I see one in a script I whip it out immediately.

Some of the material out there - I don't want to say that it's all bad - but there's a lot of bad stuff out there. You just continue reading scripts, and eventually you find something you connect with.

I think sequels should be earned and we won't do it unless the script is better than the first one.

I love working on scripts. I love coming up with ideas about what people would dress like or talk like. I love all that.

I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.

Life is like a B-picture script.

From the time I got the first couple of scripts [of Jessica Jones], I always felt that this was groundbreaking material and a groundbreaking character.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

The first thing I thought [when I read the script] was that Frasier was an intellectual at some points but also an Everyman - flawed and very insecure.

Acting is very competitive. There are few good scripts out there and the ones that are good are very competitive. You look at your options and often times they're not too appealing.

I spent as much time writing proposals in '98 and '99 as I did writing scripts.

Maybe I'm just not that humble but our script is awesome. Like Jason is so into the Muppets and such a fan. I'm such a fan of Muppets.

I have pictures from work that I'm sending to my family. I send them scripts that I'm working on so they can be excited and know what's up with me.

Once a script is released that doesn't mean it's the final product. It's not set in stone.

I can't read scripts any more because of the trouble with my eyes.

I don`t like reading scripts very much. I like it better for someone to just explain to me what it is about this story.

The Lord Chamberlin was censoring scripts when I first came into the theater.

I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.

I think for me, when I'm looking at a script I really try to consider what experience am I embarking upon, because for me it's really about the experience.

I pretty much always choose characters. That's what I do. That's what I look for. I look for dynamics in a script and potential.

The strength of the script, for me, was that you're really left, right till the end, to know what's happening. This seemingly perfect, happy, kooky real relationship slowly turns into something horrifying, but you get there through a filter of reality with all of it.

Good scripts and interesting stories are hard enough to find.

It's always so much fun to create backstory. Even if there are more clues in the script, you still always have to invent a lot for yourself. I think that comes naturally.

It'll take me a lot longer to read a script if there's no director attached.

Before I read the script [The Following], I saw the schedule, and imagine how confusing that was. I thought it was intriguing. I'm an actress. Even if it's, by proxy, all about me, I'm all for it. It was all about me, but I didn't have to show up, so it was great.

I've written plenty of scripts that sucked.

I keep every script from every film that I ever made because it's like a workbook of that time in my life.

Prayers are prophecies. They are the best predictors of your spiritual future. Who you become is determined by how you pray. Ultimately, the transcript of your prayers becomes the script of your life.

Ultimately, the transcript of your prayers becomes the script of your life.

I don't get involved in casting, budgets, location or promotion. Just the script. And, of course, the promotional tour. Which is fine with me - I'm a novelist.

I don't see the script as just a springboard for my interpretation. You do your best to serve the vision writers have - not by removing yourself from the equation, but by trying to filter what they intended through your artistry.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

As an actor, you're always reading scripts looking for something good.

Everything you do on set is directly related to your imagination when you read the script for the first time.

The script, I always believe, is the foundation of everything.

Katie Dippold, who I wrote the script with, she's very into ghosts and all that. So I go, "Hey, why don't you talk to Katie?"

I'm a great fan of Michael Mann and when he asked to see me I couldn't believe it. I was very happy. I met him and I read this beautiful script. I didn't know anything about Dillinger. I fell in love with the movie and Michael Mann.

I'm always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.

When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.

I do whatever [comedies] I'm attracted to. It's like the woman who stands out in the crowd, who for some reason you notice, that's the one you're supposed to dance with at that time in your life. That's just what it is with scripts - they find you when you're emotionally in the right place to do them.

I write plays instinctively. I don't like writing movie scripts.

For any role, I pretty much always go to the script, first and foremost.

Sometimes we'll only get one script in a year that we want to make that we feel is good enough.

If God is the author of life, there must be a script.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

I was deliciously happy filming 'True Blood.' I even kept all the scripts in my office, which I never do with any script. Although I did shred them all in one go when the series finished; it seemed like a ritual, somehow.

If theres something really, really bothering me about a script, then Ill say something, but otherwise I find my answers in the script.

At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie.

I'm always trying to work on scripts. I'm pretty selective. Sometimes maybe too much because I'm broke .

Once I started selling scripts for a great deal of money - action scripts, no less, which people tend to pooh-pooh anyway - then I started to get some backlash. Which I didn't mind.

For years I was doing the excruciating weightlifting of writing scripts - but then I stayed thin and someone else got all the muscles.

The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.

Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.

I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.

So "Embrace Of The Serpent" is told from the points of view and in the languages of the indigenous peoples of the Amazon. He [Guerra] went there before shooting began, with a script written mostly in Spanish.

At Christmas, individuals are apportioned their roles in the family script - you're either the funny one or the sensitive one; or you either do the cooking or the washing up. And those roles aren't easy to change.

After playing Saffy in 'Ab Fab', I needed to take time out from acting to see if I really wanted to do it. I had been doing it for a very long time and I was being sent the same sort of scripts again and again.

I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?

Part of me was fascinated by the idea that I would only get next week's episode a week in advance and wouldn't actually know where I was going with it, until the script landed on my mat. But, part of me wanted to know what was going to happen.

[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.

I've been fired from a situational comedy with a script they wrote specifically for me because of my voice.

I don't like the word 'autobiography.' I rather like the term 'autofiction.' The second you make a script out of the story of your life, it becomes fictional. Of course, the truth is never far. But the story is created out of it.

The most important thing is the script.

I had read enough mediocre scripts and was determined not to inflict another one on the world.

My thing is that most scripts arent bad scripts, theyre just not finished yet.

Writing a great script - not just a good one, but a great one - is almost an impossible task.

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

I was open to anything. That doesn't mean I would do anything, it just means I was open to anything. I've met for dramas, single camera comedy, multi-camera comedy. I take each script as an individual project.

The past is a script we are constantly rewriting.

Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft.

I don't get rattled about the big things. I get rattled when I have to pick up my laundry, get gas in the car, pick up a script.

I want the scripts Leonardo DiCaprio doesn't have time for. Joseph Gordon-Levitt isn't available? Call me.

If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge.

If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.

I'd love to work on a script in collaboration.

The offers I get are for grandfathers, uncles - and they often die very quickly in the script.

How can I change me to suit the script?

I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.

I used to write stories and poetry, but for some reason I have it in my head that if I'm going to write, I have to write a script.

It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting.

I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out.

You have to write a lot of scripts to get any scripts that are worth making.

Sometimes, something seems dead, and then out of the blue, someone just figures out the way to fix a script and it goes.

But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering.

I wrote a lot when I was younger, though never anything like plays or scripts.

I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.

Some scripts you read and say, 'I've just got to do this' and you find a way of making it work. Some things you turn down because of the impact on family.

I read so many scripts, that I don't do that much leisurely reading of books.

My closet is full of sad little scripts that didn't get made that have sad endings. It's very hard to get a movie made that has a sad ending.

I enjoy writing scripts. I can find out what happens. With an outline, I feel like I'm doing an architectural diagram of something.

What is your Primary Aim? Where is the script to make your dreams come true?

Only a few of us will admit it, but actors will sometimes read a script like this: bullshit...bullshit...my part...blah, blah, blah...my part...bullshit...

It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go.

I've never known a situation in my career where a terrible script turned into a movie that was out of this world or was a success.