Quotes of All Topics . Occasions . Authors
I was a judge for the 2014 NYMF season. I've done it for a few years. They send you a certain amount of scripts and scores, and you rank them.
'Death In Paradise' is my dream job - a fascinating character, great scripts, superb cast, and shooting in the Caribbean with French catering.
I have a stack of scripts that I've read - I'm in the lucky position where I get offered things - but I haven't wanted to direct many of them.
With all the lines I have to learn for TV scripts, I don't think I have any problems with forgetfulness - that's brain exercise enough for me.
Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose.
Since 'Heroes' started, I've probably had about 15 or 16 film scripts sent to me with Indian characters, and out of those, maybe one was good.
Whether I'm interested [in something] or not, step one is read the script and figure out if a character is someone I'd want to explore or not.
I read the script just once, and then forget it.I just deal with what I see every day on the screen and whetherI believe it and understand it.
There are definitely scripts I start reading, where it doesn't interest me. Maybe it'll be a good movie, but the character doesn't intrigue me.
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!
It's often disappointing when you're sent scripts, and you see why you were sent it; they want you to repeat the same thing you've done before.
When you're a working actor you see a lot of scripts all the time, but to get to do something that's really well written it's a rare privilege.
The reason I turn down 99% of a hundred, I mean a thousand, scripts is because romantic comedies are often very romantic but seldom very funny.
It's hard to get a great idea sometimes. When you get a good one and you have a good script, you want to keep shepherding it to make it happen.
No. I didn't look at the last few scripts. I didn't want to read them because I'm a 'Breaking Bad' fan. I wanted to experience it with everyone.
In terms of script, Bollywood should learn from South Indian scripts. Not talking about the fights and action, I am talking about the drama bit.
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.
There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.
A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.
Id love to work in the States; Id love to work anywhere where you get a good script and a good part to play. But I do love British film as well.
There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.
I'm probably not very funny. The scripts just don't come in, or the ones that do aren't that good. I suppose I'm just an old drama queen, really.
You are the vibrational writers of the script of your life, and everyone else in the Universe is playing the part that you have assigned to them.
I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.
J. J. Abrams is a director that I've admired for a long time, from the very first scripts he wrote - including 'Regarding Henry,' which I was in.
I've never gotten hired for drama because I'm a good improviser. I don't think people who write drama scripts want you playing with them as much.
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 was a huge Muppet fan growing up. I want to bring it back to the early '80s Muppet movies, when the scripts could have been performed by humans.
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.
When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.
Being in front of the camera, you never got to see the whole process from the conception of the script all the way through to the filming process.
Sometimes I work in my office, just reading material, meeting writers, working on scripts. Other times, I'm on location. There's a lot of variety.
Sometimes my scripts get so dissolved, and they're so different from when I wrote them originally, that I find it hard to find what I wrote in it.
I am a greedy actor: I want all the scripts to come to me. So I do all the good films which come my way, even if it means I'll rest a little less.
The wonderful thing about 'Star Trek' is that they're very open to suggestions for scripts and story ideas from the viewers. That's really unique.
I don't know how I absorb things, but I do. I just absorb them. I don't over read the script, and I don't really ever spend much time learning it.
'Headhunters' was a breakthrough film for me, internationally, and I got offered a lot of scripts from Hollywood - a lot of heightened hero movies.
I was always writing scripts, and I had made several shorts, before and after film school. But I worked a variety of temp positions over the years.
I fly around with chicks on each arm and have no script. I just talk about what I feel like. But that's why my act works: I'm like this normal guy.
Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck.
I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.
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 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.
What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work.
I have enjoyed writing my own stuff, and it's been a privilege to be able to scrap some money together to be able to make films from my own scripts.
With these scripts and these writers, so much of it is done for me. Because we don't just throw words around: we make sure the audience understands.
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.
I'm so bored of reading scripts with these wonderfully complex male roles, yet the woman character just sits on the bed waiting for him to come home.
There are a lot of scripts that you can like, but rarely are there directors attached when you're in development with something and that's stressful.
But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show.