Quotes of All Topics . Occasions . Authors
The beauty with U.K. productions is that, most of the time, you get all of the scripts when you audition for them.
Stand-up is really personal. It's not like somebody else is writing the script and you have to do what they write.
For me, I've always been one that reads a script and has been ready, wiling and able to go out and fight for parts.
If you have script problems and you don't fix them by the time you shoot, your script problems are now 40 feet tall.
I always wanted to do a sci-fi movie, but most sci-fi scripts are either about saving the planet or fighting aliens.
Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.
I'm really calculating when it comes to these scripts - I'm really calculated about character behavior and dialogue.
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.
If I want to kiss, I shall kiss. If I am told that a lovemaking scene is integral to the script, I will consider it.
I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.
I can never say a line someone else has given me, which is why script meetings on TV shows always go terribly for me.
I love the gangster genre, but how many gangster movies are there? If I get a good gangster movie script, I'll do it.
There are some great women's roles in television... so much more interesting than what I was reading in film scripts.
I have tried to make decisions to work with great directors, with good scripts, and that makes the pickings real slim.
There's no point in me meeting with a bunch of producers or studios, because I'll write my own scripts in my own time.
I practice reading all the time. I read everything and having so many scripts to read, which really helps out as well.
When I read a script, I am already in the movie with my music, and I can dive into a world that I haven't seen before.
I really like acting but, just now, the more I read a script I find myself thinking I'd like to direct rather than act.
With TV, the pace is so fast, the scripts are coming at you, the directors are firing things at you, it's breathtaking.
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.
There is a perception that I do certain kind of films. That's not true. I am open to any good scripts with a good role.
My own mentality is that I've retired. They send me these scripts and if I absolutely have to do it, then I go to work.
I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.
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.
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.
My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.
You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.
I won't be able to do what I'm doing forever. There aren't that many scripts floating around for fifty-year-old chicks.
The writing of the script is a continual process. There's the first draft and then many, many re-writes here and there.
I have boxes full of stuff. Most actors do have a trunk full of stuff, paintings or scripts. It never comes to anything.
I regard myself as a beautiful musical instrument, and my role is to contribute that instrument to scripts worthy of it.
For Mandarin scripts, there's software now where you can just insert the Chinese script, and it comes out all in pinyin.
When I was doing Bond, I was always being sent scripts to play the derring-do hero, with explosions going on all around.
Sometimes, something seems dead, and then out of the blue, someone just figures out the way to fix a script and it goes.
I've seen so many scripts, and I want to do everything. Like with kiteboarding, you have to be fearless. I'm not scared.
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
If you have a good script, that's what gets you involved. It's harder to write a good screenplay than to find something.
I worry about my sides. I worry where everything goes. I worry that I'm going to be the leak. I give all my scripts back!
Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.
I've sold scripts in the past, and also a TV pilot that didn't get made, to Fox. But yeah, I've been writing for a while.
As an actor, the toughest thing is being subject to circumstance. Meaning: What scripts are out there that are available?
I just choose the scripts I want to work on. I don't know why. It's not something conscious or that I'm doing on purpose.
There would always be scripts that came along that I turned down, like Gang Member #5 - roles that were just stereotypes.
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.
Wait a minute, words in the prompter, script on my desk, vending machine upstairs out of Funyuns... the writers are back!
If the young filmmakers ask themselves enough questions and come up with enough answers and get the scripts tight enough.
With my characters, I prefer to not say too much, and in fact, I tend to cut down some of the lines in most scripts I get.
I'm still fighting for parts - it's not like I'm sitting with a big pile of scripts putting them in a 'yes' and 'no' pile.
Work harder than everybody. Read scripts, watch movies. Help other writers, it makes you better. And probably move to L.A.
I'm always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.