Quotes of All Topics . Occasions . Authors
Everything you do on set is directly related to your imagination when you read the script for the first time.
I was not the kind of a principal player that was so in demand that eight or 10 or 12 scripts came per month.
I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
It's an unfair comparison because when things are developed in the UK, they're developed at script stage only.
I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'
I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.
When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.
We're all clichés, all following scripts that have been written and played out long before we landed the role.
As a family, we ensure we sit together and listen to scripts. But the choice of doing a film is entirely mine.
I don't even give my scripts to friends because I just feel it's, like, I don't need one more set of opinions.
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
I've been amazed watching people who are not ready with their scripts when they're getting a lot of attention.
I sort of love reading the scripts and going, 'Oh wow, what a great idea. I never would have thought of that.'
To be fair to ourselves, in almost every original script, the timing is actually worked out down to the minute.
You don't read many scripts, especially for crime dramas, that feature a strong woman as the central character.
Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages.
Usually you read a script and you know somebody who knows somebody who maybe knew that person or met them once.
Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.
It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.
All I know is Andrew Davies is an amazing writer; I adore the scripts. I think that Jeremy Piven is outstanding.
'Groundhog Day' was one of the greatest scripts ever written. It didn't even get nominated for an Academy Award.
Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that.
My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel...
I've always tried to stay away from playing Jews. I get like 20 Holocaust scripts a month, but I hate the genre.
I have always been fascinated by Kollywood because of the interesting scripts and genres that they come up with.
The padded outfits, the bad scripts, the phony-looking sets... he dealt with it all. He had to. He was Superman.
All I do when I write scripts is think about food: 'Have I worked long enough to justify a walk to the kitchen?'
I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.
I am doing films that are content-oriented and where I have the scope to perform. Rarely do such scripts happen.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts.
I think the part I enjoy most is reading the scripts and screening films because I'm a bookworm and a movie buff.
There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
I am not bothered about money. I have no dreams that feature money. I dream only of good cinema and good scripts.
If a star film does not have a good story, it will not run. This will make stars choose good scripts consciously.
It's my job to write the best book I can each month and hand my scripts in. Everything else is beyond my control.
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.
Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.
My brother advises me on what kind of films to do, which directors to work with and which scripts have potential.
I never really do much research before signing a film. It is just the script and character that I concentrate on.
You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.
I came to Hollywood and felt myself an outsider, and I was sent all these action thrillers and superhero scripts.
I'm probably working on three different scripts at any time, so there's never a time where I've got nothing to do.
Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.
If you want to be a filmmaker, ask yourself if you could imagine doing any other job. If you can, that’s a script!
Marketing is such a key issue; in fact, the marketing department is often involved in the approval of scripts now.
At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie.
The moment you say, 'I want to do a role,' the story suffers. I don't set priorities in terms of roles or scripts.
You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.