Quotes of All Topics . Occasions . Authors
I'm lucky enough that financially I don't have to feel obliged to go for the bigger stuff. I like the stories and scripts to dictate if I want to do them.
'Gone-Away World' was a shotgun blast, an explosion out of the box I'd put myself into writing film scripts. 'Tigerman' is shorter, tighter, more crafted.
As far as I'm aware, you can't tell if something is going to be successful. Brilliant scripts often don't get picked up, and terrible ones do all the time!
In an ideal world the script is written lean and tight and therefore there are no scenes left on the cuttring room floor and therefore no extended edition.
A lot of the time, I won't read the script until my second or third audition just 'cause a lot of the scripts are the same and the characters are the same.
Actors tend to not know how their performances are going to actually be used. Even though the script says one thing, in the edit, it can be something else.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads and the pictures were so vivid.
I think for me, when I'm looking at a script I really try to consider what experience am I embarking upon, because for me it's really about the experience.
I read the script for 'Guncrazy' in 1985 and loved it because it was one of the few scripts I'd come across that revolved around a strong female character.
If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge.
Oftentimes you read scripts, and you get to one and you think, 'OK, is this good, or is this just better than all the other ones that I have been reading?'
In my own experience, the scripts that I wrote, if they didn't go within two years and become a film, they never went and no one ever came looking for them.
Because of the way the business is structured, I have sometimes turned down scripts that I might otherwise have accepted had I known who was directing them.
My deal with Marvel is I have a consulting deal with them as well as a contract to make 'Avengers.' That means I'll read all the scripts, I'll look at cuts.
Actually when I gave out the script, I gave it with a CD of all the music I wanted to put in the movie, and again, we never thought we'd get all that music.
Within a few weeks of coming back from filming 'Lemonade Mouth,' I got these scripts, and 'Terra Nova' was the one that stuck out. I was like, 'Oh my gosh'.
I know it's boring to say this but I always start with the script. I mean if it's well written and it's a character that I haven't necessarily played before.
When I started to work in Hollywood at a fairly low level delivering scripts around town, listening to AM talk radio, I at first listened to it as a novelty.
Today it has been estimated that the average 70 year old has four chronic conditions and consumes an average of 35 PBS scripts per year for those conditions.
I really like questions. I like people who write scripts because they're asking questions, not because they're giving answers. It's something that I look for.
I work like a dog, really. I go over scripts like a mad man and just want to make sure I have my house built, so that I can just kind of go nuts inside of it.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads... and the pictures were so vivid.
Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.
I do get a fair amount of scripts; I got 'Frozen River' kinda just that way. I have a hard time turning my back on anybody who says they have something for me.
Because I've been at it so long and very steadily, I have a lot of credits, but I probably have twice as many scripts that were never made for whatever reason.
Avunu's stellar run at the BO and the positive response from the audience was such that most scripts coming my way from Telugu have been from the horror genre!
Our characters were antiseptic but we weren't. And if you remember what we did on BATMAN, as the scripts were written very funny, we played them very straight.
Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft.
I am a known actor who wants to challenge himself in difficult roles. I am not a star but an actor, so I am always looking for strong scripts and strong roles.
Films that rely on their cast to be funny are often episodic and feel like a series of loosely connected sketches rather than a satisfyingly structured script.
To begin with, I always want to go for scripts that do not have a reference in Hindi cinema. If it is novel and unique, it definitely has a better shelf value.
It's not often that scripts come across our desks that are written so poetic and so honest from our perspective, as a black man and a black woman in Hollywood.
People are calling a lot, sending scripts my way. Yes, it's wonderful because, let's face it, there aren't many wonderful scripts for women over the age of 10.
I love 'Safe Men.' Now it's getting all this culty kind of - it just came out on DVD. That was awesome. I read that script, I never laughed so hard in my life.
I've always written my own scripts, I really like doing everything from the beginning and taking it all the way through, I've probably learned that from my dad.
I never read the scripts at all carefully and never wanted to know what was going on, because i felt that being a benevolent alien, that's the way it should be.
Everything is in a script for a reason, and only by being part of a writing team (or writing it yourself), do you really understand the intention of every beat.
Movies, particularly the big hit movies, are all just special effects. But on television, the writers are in control of the shows, and they control the scripts.
I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.
With the performances, I have been very fortunate to pick things and to find scripts that I really love. I always try to do something that I haven't done before.
There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.
I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.
I get sent horror scripts every week and most of them are putrid. A lot of people think it's an easy medium but it's not. Not if you want to make ones that last.
Always care for the writing part first. Every good film project starts with good writing. If you have a good script, everything else follows. Writing is crucial.
I'd like to start writing scripts. I think I'd probably be inclined to write a very dark comedy or a tragic romance. As a kid, I used to write really dark stuff.
Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.
I won't read scripts because I have a limited amount of time. Why should I help other people do lame stuff when I can just go out and put on lame stuff of my own?
I get scripts and think, 'There's not enough here to get my teeth stuck into.' That's a result of studying English, where you luxuriate in these big, lush novels.
People kept passing our [ with Robert Ben Garant] script around, and suddenly we had this reputation as screenwriters, which we're not - we're sketch comedy guys.