Quotes of All Topics . Occasions . Authors
I've always wanted to work in America because of those brilliant east-coast political movies of the '70s and '80s - great scripts, wonderful performances, gritty urban parable.
There's nothing better than finishing something and looking at it. Whether it be a script or a movie, it's this complete little thing that now exists and is hopefully immortal.
I was trained in storytelling by Jim Shooter, Stan Lee, and Larry Hama. Doesn't make me a genius, and there really isn't anything fancy about the stage direction in my scripts.
I get sent a lot of scripts which feature him as a kind of all-purpose Victorian literary character and really understand little, if anything, about him, his life or his books.
I often get sent scripts about little men in big situations. There's a comic element to it, which is forces stacked against this little guy, and how is he going to defeat them?
Sometimes when it comes to the iconic kind of moments, when I read the script for the first time, you get little goose bumps or something because it really is kind of exciting.
I love to be a working actor, and I love to read scripts as they come in. If I find the script or character that is interesting, I want to transform myself into that character.
I didn't have to leave my neighborhood to be surrounded by the things that 'Super Fly' is about. It was easier than most scripts because it was about an environment that I knew.
I'm sent a script. I read the script. If I love it, I want to do it. And that's it I don't care who's in it, how much money is behind it, really to an extent who's directing it.
I give preference to scripts and of course, the importance of my role in the storyline. Still I am not after hero roles. I take such roles only when I find the scripts exciting.
I didn't write 'Snow White' for any class, but I got bitten by the screenwriting bug and wrote a couple of scripts in my spare time instead of going to keg parties or something.
I'm not going to comment about potential jobs in the future because that's a rabbit hole to go down and get caught up in, but all I'll say is I'll go where the good scripts are.
I don't watch scary movies. Sometimes, even having to read the script and do an episode of 'Grimm', I get a little tense because I know someone's going to jump out of somewhere.
Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
From the very start of all of this, my mom has read the scripts first. And if she liked something, she let me read it. She told our agent what kinds of parts that we would want.
Compared to dancing, films seemed to me to be the work of lay bums. There was no physical pain; it was enough to say and imagine what was in the script. It was very easy for me.
It's very unusual on 'Game of Thrones' for there to be a deleted scene because the scripts are pretty locked in. There's rarely a reason to say, 'Hey, we don't need this scene.'
I think Tamil films will soon go the Hollywood way. There will be separate full-length humour-driven scripts, just like how thrillers and musicals are becoming successful genres.
I'm most suspicious of scripts that have a lot of stage direction at the top of the page... sunrise over the desert and masses of... a whole essay before you get to the dialogue.
I'm one of those actors where usually I'll read a script, and then I'll have a flurry of notes. I'll ask a hundred questions about things, and really get in there and examine it.
Initially, I thought that Ethereum was a thing that would be used for people to write simple financial scripts. As it turns out, people are writing stuff like Augur on top of it.
It`s the only time my education has come in remotely handy. -on using her Russian literature studies for copying her "Van Helsing" script into Russian to acquire a Slavic accent.
'EastEnders' changed everything. I was a jobbing actress living in Stepney, and I was on the dole at one point. Then people started to send me scripts, which was always my dream.
A lot of scripts that I was given I didn't feel were right for me, because I didn't feel anything for them - I didn't feel like I was going to change in life and start directing.
My creative team filters the scripts before they reach me and a few others. We evaluate them, ponder over the budget, and think of various possibilities to get the viewer excited.
What made me want to be on it was reading a really good script, and being compelled by and attracted to the characters. I really loved Maura Isles, who was very fascinating to me.
I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.
I'm not saying no to anything, at least as far as reading scripts. I don't care if it's television or films but, personally, I would say I'd like to establish myself more in film.
When you have a bunch of scripts that you have to read, the less you have, the better it is, because otherwise, everything is already planned and I think that's a terrible feeling.
I left 'Dr Who' after 18 months, as my character was going nowhere. In truth, I wished I had never gone into it. Afterwards, all the scripts that came my way were for 15-year olds.
In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.
In the summer of 2010, I had decided to get into film and TV writing, so I wrote scripts for six different ideas I had developed, and the pilot for 'True Detective' was one of them.
Girls in scripts are often pretty but brainless, or geeky and no one likes them, so it's great to find richer roles. Chalk and cheese aspects of people are very interesting to play.
Once I started selling scripts for a great deal of money - action scripts, no less, which people tend to pooh-pooh anyway - then I started to get some backlash. Which I didn't mind.
I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.
There's not a huge pile of scripts at home. It's what happens to be on the table at that moment with your availability. And then you have no control over when these things come out.
Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.
I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.
Acting is very competitive. There are few good scripts out there and the ones that are good are very competitive. You look at your options and often times they're not too appealing.
I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.
I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes.
When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.
My partner Dan Ireland wants me to direct, and I read a lot of scripts - some good enough that I could see myself. But then it's like, so what? Who cares? Let someone else direct it.
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.
I was reading through endless junk scripts that were being sent my way. Typically the roles were to play his wife or his girlfriend - leading roles for women were few and far between.
If my fans only want me to do a certain kind of films, then 'Naanaku Prematho' would have failed miserably. They've entrusted me with the freedom to select good and different scripts.
'The Glass Menagerie' by Tennessee Williams is a great play. I had to read it for school when I was younger, but I started writing scripts after that. That's what got me into writing.
I’ve always been better at informing the audience through images than through words, but I took on a script that was so dialogue intensive, that the words had to do all the informing.
If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.