Scripts Quotations | Page 9

I like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.

I always find it fun to read a script and then find the messages in the script because I believe every story has them.

I always find that it's when a script is not detailed, then I have to do more work as an actor.

I never had a movie that I wanted to do turned down in my whole life. I always write the script first so it speaks for itself.

EastEnders' keeps me so busy - that is where I'm at and I can't see that changing too soon. There's nothing that has quite got the punch of an 'EastEnders' script.

I read a lot of scripts. Most of 'em go to other actors.

If you steal other people's characters, it doesn't work with the context of the scripts and what is written, so I wanted to make her my own. I was petrified, in the beginning, because it's such an iconic character, especially being a young lady myself.

With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you. It's much more interesting and challenging to go to it, rather than it coming to you.

Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.

You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing.

I never read the scripts at all carefully and never wanted to know what was going on, because i felt that being a benevolent alien, that's the way it should be

I wrote a script. I actually enjoyed writing it more than acting. It's about the Irish rebellion of 1920, which is a fascinating period and place for me

As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project.

I can't imagine directing from someone else's script.

In the end, whether I write the script or, in this case, somebody else did, there's a point where you let it go when you're making a movie. You just have to. The thing that you shoot is not what you imagined in your head - it never is exactly that. And it shouldn't be.

I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.

A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.

It's always the script that's going to lure me. And I don't really care about the part.

Once you crack the script, everything else follows.

I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.

There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads and the pictures were so vivid.

When you work without a script, you are in a sense working in a much more improvisational way than when you are prepared totally.

There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.

It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.

It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.

My primary job is to choose the programs, either to co-produce them, or acquire them after they're finished. So, I read a lot of scripts, I meet with producers and I read a lot of books.

I think the part I enjoy most is reading the scripts and screening films because I'm a bookworm and a movie buff.

With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.

A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.

I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.

I often have scripts sent to me with allegedly Scottish characters where I end up telling them, 'You're going to have to rethink this whole thing!

I used to be a rabid reader, but now it's scripts or nothing - network television is quite relentless, and you can't drop the ball.

Even the busboys at the restaurants have a script to give you. Everybody is in the business.

When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!

There are a lot of good stories out there, but I haven't found too many great scripts.

Writers get to stay with the piece. They don't just turn the script in and somebody else takes it over and goes out and produces it and edits it and all that stuff. We stay with the piece all the way through.

When told a script was full of old cliches: Let's have some new cliches.

Jackson doesn't bother to read the scripts anymore. He just checks to make sure he has one loud scene where he gets to shout, then cashes the paycheck.

A woman is just a script, but a cigar is a motion picture.

[Writing scripts] I'm not looking to jump in and make super mainstream movies. I still like to make movies that I like to see.

I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.

The most important thing is the story. Not the script, but the story.

I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

Finally, Colin Farrell showed up on my doorstep, only he wasn't Colin Farrell - he was just this Irish kid who had read the script and wanted to do it.

I don't know, just scripts randomly appeal to me. I'm not looking specifically at any genre.

I have a background in theater. At the time I read The Loved Ones script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in A Streetcar Named Desire and Isabella in Measure for Measure.

I would guess that the price of the script really is secondary. The credit is much more the essence.

When you have a bunch of scripts that you have to read, the less you have, the better it is, because otherwise, everything is already planned and I think that's a terrible feeling.

I think part of the problem sometimes is that there's so much happening in my books, to whittle it down into a single script is hard.

When you read a script, you get a feeling from it.

When I can't get the character out of my head, and I'm in my bedroom and I start to actually act out the scenes that I've read in a script, I think okay, I really want to do this.

Id just love to have an audience and its the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

[Making movies is] 80% script and 20% getting great actors. There's nothing else to it.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.

Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.

My partner Dan Ireland wants me to direct, and I read a lot of scripts - some good enough that I could see myself. But then it's like, so what? Who cares? Let someone else direct it.

I'd like to think that my scripts are more significant than maybe the Bible or the book that the Jews use, whatever it's called. And that's only when I'm having an off day.

I was originally casted to be in the Superman movie but I read the script and realized that it was mysteriously similar to my screenplay for Zach Braff the Movie.

I'm an unashamed realist, and actually, I try to make whatever the script is the reality of that situation, even though it's fictional.

Every film starts with the script.

This script was just so much smarter than usual and I'm just fascinated by human behavior.

What happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images...

Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late.

I write my scripts short and they develop on the set, which I have found a far better premise both economically and practically.

It's easier to direct. If you direct something poorly and re-shoot it the next day, stage it better, make it work better, you have a lot of possibilities. You can edit it in certain ways so that it works, but there's no getting around weaknesses of the script.