Quotes of All Topics . Occasions . Authors
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.
I don't think about better. You just want it to work. You want it to work and you have your guide with the script. You want it to exist and complete.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
There are two separate scripts for 'Mockingjay' parts one and two. It's definitely one story, but there are two totally distinct and separate scripts.
I have to tell you that we never had any scripts. Jean-Luc never wrote a script in his life. He would write the dialogue that morning before shooting.
What I really plan to do is take the best scripts I get and consider them seriously. I can actually work as an actor and prepare a film as a director.
I don't really look for a script and go, 'I need to do a thriller, so I'm going to do this.' I just read scripts and look for the best possible story.
I am extremely choosy about the scripts that I accept. I choose movies from an audience point of view - keeping in mind what they would like to watch.
Most games end up with quite caricature scripts because they are just here to serve the game-play mechanics but not to trigger any emotional response.
For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.
The first thing I thought [when I read the script] was that Frasier was an intellectual at some points but also an Everyman - flawed and very insecure.
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.
It is rare that you read scripts that genuinely move you and make you feel that, regardless of the commercial possibilities, you have to make the film.
Out of every 10 scripts I get sent, seven are fairly generic about an American guy who gets the girl and is involved in underground espionage activity.
'The Living And The Dead' is one of those scripts that you read and are instantly compelled and engaged by. It's intelligent, chilling, and engrossing.
It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
I am always open to working with debutant directors, as they bring a new perspective to a script. That motivates me and helps me choose unique scripts.
Scripts specify 'minority' when it doesn't seem necessary. Given this is a traditionally liberal and progressive industry, it's surprisingly backwards.
From the time I got the first couple of scripts [of Jessica Jones], I always felt that this was groundbreaking material and a groundbreaking character.
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.
I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.
Well, I must tell you I write the scripts very close to the bone. So I'm writing episode seven now and couldn't tell you what happens in episode eight.
One reads many scripts, and some of them are good and some of them are not, but every now and then, one really grabs you. You simply can't put it down.
My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.
'The State' had never done improv. We used to go over scripts for weeks and argue about every joke. But I don't know how we would have scripted 'Reno.'
My scripts are always filled with notes. I like to just analyze everything from the point of view of the whole picture, of the movie, my whole picture.
I quit doing the movies because the wrestling was going so good and was so on fire during the '80s and '90s, but I was getting all these movie scripts.
Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.
When I retired, I was at an in-between age. I wasn't a child anymore, I wasn't really a woman yet, and they weren't really writing scripts for that age.
A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.
The first thing that attracts me to any script is the writing. If I find myself becoming lost in a good yarn, then I feel certain that others will, too.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
I think we'd like to direct. Not so much because we'd like to be directors... we'd like to see how one of our scripts would do if it didn't get changed.
I'm so touched that complete strangers will send me a script asking me to be in their film. That still amazes me - and sometimes for a lot of money too.
I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
During the '90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.
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
Even though I am a lifelong 'Doctor Who' fan, I've not played him since I was nine. I downloaded old scripts and practised those in front of the mirror.
I am a little old fashioned, and I love to have my scripts printed out. There is something magical about feeling the paper, making notes and page marks.
It was a great circumstance when I received the script of [Chloe] and Atom [Egoyan] said he wanted me to do it. I was inclined to say 'yes' immediately.
I like to flip through play scripts, not just my own; there is something exciting about seeing printed language on a page that triggers responses in me.
When you sign on to say, "Okay, yeah, let's develop this," usually that turns into, "Oh, he's doing it." But there's no script for some of these things.
He [Michael Cimino] wasn't the typical filmmaker. I don't know if he had more in him, he certainly had a lot of scripts. I know he wrote a hell of a lot.
Only a few of us will admit it, but actors will sometimes read a script like this: bullshit...bullshit...my part...blah, blah, blah...my part...bullshit.
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch...
My happiest moments are when I'm on my high wire with the Johnny Carsons of the world. I don't have that opportunity if I'm doing other people's scripts.
I really respond to human scripts, scripts that are raw and real and risky. I love playing scary characters - not horror film scary, but vulnerable scary.
Hallmark Channel treats their actors and actresses with utmost respect. Their scripts remind of me of why entertainment exists in the first place: escape.
Some scripts you read and say, 'I've just got to do this' and you find a way of making it work. Some things you turn down because of the impact on family.