Quotes of All Topics . Occasions . Authors
Anytime I'm given scripts where I'm sort of the fantasy girl, it's hard for me because that's not real and I don't think it's a great thing to put out there consistently.
There hasn't been anyone with whom I can discuss my scripts. Even when the film is done, there is no one I can show it to who gives his sincere opinion. There is silence.
When I'm working on a movie, I'm in my trailer playing guitar. And then on the road, I read scripts and think of... it just keeps both fires burning. I kind of need both.
I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't.
A lot of actors look at scripts and think, 'How will this stretch me as an actor?' But I always thought, 'Do I want to turn the page? Is this going to make people laugh?'
It's always so much fun to create backstory. Even if there are more clues in the script, you still always have to invent a lot for yourself. I think that comes naturally.
To be able to make a living, I went into television. Not necessarily planned from the beginning, since I was more familiar with features, and had developed a few scripts.
Unfortunately, the back log for writing for 'Walking Dead' is pretty backed up! Usually, we wouldn't see the scripts until the week before - or sometimes even the week of.
There are tons of stories out there. I read a lot of scripts on a weekly basis. I'm looking for stories to tell and stories that I hope will be interesting to an audience.
A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.
A lot of times you have to dip into the independent world to find the really great projects and the really great scripts. They're out there - you just have to search hard.
I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.
My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.
I want to aspire to something like what Denzel Washington does, which is try to find scripts written for white actors - or Jodie Foster, who reads scripts for male actors.
I think it's a bad habit for an actor to change scripts because that's not your job. You're not a writer, necessarily - although there are some actors that are good at it.
Television's so quick, and there's so many other fun elements to it, but you don't get such good scripts and the time to really make much more three dimensional characters.
It's a shame, but every time I get something scientific in the script, I read up to find out what I'm talking about - but then I'm on to the next script and it's forgotten.
I'd always envied actors who got to play real people or got to do research. I've always just had these scripts where, I mean not in a bad way, but it was right on the page.
We read the [Dracula] scripts, but Jess [De Gouw] and I are completely taken out of the hunts and anything with Van Helsing. We're just living our lives, as our characters.
A lot of times, especially with TV, I would get these scripts, and I'm like, 'Oh, they want me to be the good-looking guy who's a little bit of a rascal.' It's just boring.
Whether or not it is ultimately the best of all conceivable scripts for Korean, Hangeul must unquestionably rank as one of the great intellectual achievements of humankind.
Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.
It eventually comes down to the right timing and right scripts. Some may have two to three releases a year, some may have just one - luck changes with every Friday release.
Without being good enough, I started figuring out how to make my way through the minefield of a script, which is what it was to me at the time, and the rest is semi-history.
If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.
My brother is my go-to with scripts, especially when we're talking genre pieces, because I want to make sure that it's legit. I can love it, but then I pass stuff on to him.
The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.
I know a lot of people in the business recommend the many Story Structure seminars being offered here, but I point to them as the single biggest contributor to lousy scripts.
Oh, I had an idea for a pilot of my own at the time, and then Carl sent me about eight scripts and simply I threw my idea out the window because the writing was just so good.
It fills me with dismay sometimes when you look at the scripts that do come to you that are primarily focused on violence. There are so many other things to play around with.
I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.
Underground, raw movies that come out of nowhere and change everything - they aren't slick-looking. But I have nothing against slick-looking as long as the scripts are funny.
When you're writing a story in bits and pieces, month in and month out, there really isn't time or space for reflection, no room to learn what those scripts had to teach you.
The first science fiction show on television was 'Tales Of Tomorrow' using scripts from the radio show 'X-1' which used stories from 'Galaxy Magazine' as its source material.
I was a big fan of Joe's film, Narc, so when you hear there's a script coming over from Joe Carnahan, you know it's going to be interesting because he has such a fresh voice.
When I was 23, I went to work for Jack Nicholson reading scripts. Later, I was married to a production designer named Richard Sylbert. So I lived in Los Angeles for ten years.
I love TV, don't get me wrong. But with film, you're just banging out this one product and you're not waiting on another script. You have your script. It's great, in that way.
Sometimes you do a film because the script is amazing, sometimes you do it because you get to work with amazing people, and sometimes you do a film because they pay you money.
There's no one I trust in show business more than Sabrina Wind. She's my eyes and ears when I can't be there. She weighs in on everything, from scripts to sets to advertising.
I'm still reading some scripts and I model as well, so I'm still doing that. But I don't want to do like just anything so we're being really selective about the stuff I'll do.
I listen to music, I read scripts, and I know pretty intuitively if I can unlock it in a way. It's actually very liberating when you understand that not everything is for you.
As an actor, you read so many scripts and parts written for Asian-specific characters, and you see a lot of stereotypes and a lot of one-note characters, especially in comedy.
While I don't claim that I feel no pressure, I have strived to take up only those scripts that appeal to me. I've been lucky that the ones I chose were also liked by audiences.
I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.
I don't have wild dogs chasing people with scripts away from my door. I get my share. I've done okay. But I usually do independent stuff because that's mostly what I'm offered.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.