Quotes of All Topics . Occasions . Authors
All the writers for 'The Chi,' they're all phenomenal, so I'm just working on projects with them. They have great scripts.
At this point, I'm happy to be part of something special. As an actor I liked to choose scripts that I'm passionate about.
The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.
I do well to interpret scripts to the best of my ability so even if I'm given a monster to play a love scene with, I will.
I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to.
You read so many scripts, especially pilots, that really feel like marbles in your mouth when you go to read them out loud.
I get a lot of emails of scripts and pilots, and they want me to give feedback, and sometimes I can't because it's so many.
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated into different scripts.
We grew up in abject poverty. Acting, writing scripts and skits were a way of escaping our environment at a very young age.
I love the feeling I get when I'm on a set; I love reading the scripts, playing the characters, getting to be someone else.
No matter how great the script, the actual film will only be a distant relative of it - it will never be an identical twin.
I would not have so many scripts being driven by demographics. The play's the thing - not the 18-35 year old male age group.
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.
My dad's got a brilliant eye for scripts 'cos he's a literary agent. He and my agent read a load of scripts and filter them.
Every time I get a script in my inbox, it's like a little Christmas present. It's so exciting to see what they've cooked up.
I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.
Reality TV finds talented people. There are no scripts. The editing is what it's all about. Great editing makes those shows.
Lot of the scripts I've been in with other non-white actors haven't been great. Lot of non-white actors ain't all that great.
I'm an obsessive hiker and I do it every day for two hours and it really helps me when it comes to learning songs or scripts.
You can have a great script, or a great director and a bad script, and get a great movie. Nothing really guarantees anything.
At some point, I would like to start creating my own things. If people don't write the scripts I like, then I will do my own.
Well Getaway was a script that was submitted to us for production and I read it and thought it would be a cool movie to make.
Reading scripts or commercial copy isn't a problem for me, so I can really focus on the acting instead of it being secondary.
I read as many scripts as I can and just find stuff that I think is interesting, find stories that I think are worth telling.
There is no such thing as a good script, onlya good film, and I'm conscious that my scripts often read better than they play.
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?"
You can have a great script, and it can be a great show, but for whatever reason, it just doesn't take the public's interest.
I now go to my dad's grave to read scripts and learn lines. It's the most peaceful place. I go to see him, and it's fantastic.
You can trust a Neil Simon script. Every dot. Every dash; that pause means something. He takes all the jokes out, practically.
[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 felt really strongly about this script [ Everybody Loves Somebody] because, like you said, it's a very specific way of life.
When you pick up a script you want to do you generally have a theme you're trying to work with, and then it expands from that.
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.
'West' is one of those scripts that, when it came out, everyone wanted a piece of it and everyone wanted to be involved in it.
Comics writing is for your artist. It's not for the general reader; it's for the artist. So I love writing scripts for artists.
At 14, I started reading popular scripts, wanted to learn Telugu, read books and improve my language. Then I got married at 15.
My process of choosing scripts remains the same. Of whatever I read and whatever excites me is what I will continue to take up.
But most scripts are terrible. Most projects are bad, that's just kind of the way it is. And I'm not really attracted to those.
I've been involved with great scripts and so-so leadership, and it's clear to me that leadership is the most compelling factor.
The scripts that I take should be solid in terms of content; only then will my inability as an actor not show up on the screen.
I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?
I've always felt that I'm in a spontaneous business and if you script something, if you plan something, it will sound that way.
In TV, you don't know everything. The writers only give you scripts before you shoot the episodes. They keep you on your nerve.
When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories.
I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.
I've been working with a lot of people out in Hollywood on writing scripts, screenplays, directing, producing, and making music.
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.
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 get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.
When I'm not acting, I'm writing, building an inventory of scripts. Even if they sit on the shelf, I just keep stacking them up.