Quotes of All Topics . Occasions . Authors
I read a lot of scripts and so many are clearly a knockoff of one familiar genre or another.
I was concerned about doing a sequel and repeating myself. That was before I read the script.
A lot of the time, the scripts you get to read are remakes or reboots or sequels or prequels.
I look for good scripts, not anything. It should inspire me, and the audience should like it.
Of course, I'm not allowed to talk about the script, but I can say it is a really good story.
Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want.
Often in television, you read a script and you're amazed that you get the scene given to you.
I actually had a chance to be in Delta Farce, but I couldn't do it because I read the script.
But once we got on the air, everybody except Morey Amsterdam pretty much stuck to the script.
Writing a great script - not just a good one, but a great one - is almost an impossible task.
From 'Polytechnique,' I started to get scripts and after 'Incendies,' of course, it exploded.
I get many scripts and films, but I refuse most of them because I have done such roles before.
I had read enough mediocre scripts and was determined not to inflict another one on the world.
I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out.
Sometimes you just dread reading scripts; it's like the chef who doesn't want to cook at home.
Usually, I write my scripts first, then think of the actors, or I have a reference of someone.
The offers I get are for grandfathers, uncles - and they often die very quickly in the script.
Films need a good direction, strong scripts, and hardworking actors. 'Wazir' has all of these.
It was easier to do Shakespeare than a lot of modern movie scripts that are so poorly written.
I would take a bad script and a good director any day against a good script and a bad director.
We all sit in front of our mics and our scripts lay on music stands. Then the silliness begins!
Sometimes we'll only get one script in a year that we want to make that we feel is good enough.
When you have a good script you're almost in more trouble than when you have a terrible script.
More often than not, if you've got a good director and a good script you can't really go wrong.
The better the script, the less money there is. That's just the economics of the studio system.
I always find that it's when a script is not detailed, then I have to do more work as an actor.
I'm reading scripts, desperately wanting to work. I've set a couple of things up for next year.
Many directors are approaching me with good scripts. I will concentrate on production and music.
I don't look at scripts in terms of commerciality. I just look at the part, the people involved.
If I have a script, I tend to stick to it even if God may be leading me elsewhere in the moment.
American scripts are usually non-stop conversation. People talking over each other. I like that.
I really respect those guys that get $250,000 for punching up scripts, because it's an art form.
The difference between life and the movies is that a script has to make sense, and life doesn't.
Meteorologists are pretty faces reading scripts telling you whether it's going to rain tomorrow.
For writers that rehearsal period is death. It is the most destructive thing of all to a script.
Alexander Payne's very specific. His scripts are always complete when you start working on them.
Success is freedom - scripts coming your way and getting to choose the stories you want to tell.
When you go to Marvel, they lock you in a room with the scripts; they really are that secretive.
A good script and a good brief from the director is enough to let me know what is expected of me.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go.
The scripts that I've been getting are of epic proportion. People want me to lead the big armies.
These days scripts aren't that repetitive and so the roles are getting more and more challenging.
Great writing attracts great actors. It attracts money. Without a great script, you have nothing.
I've done about six comedies. Oddly enough, the script came to me from one of the guys in Platoon
I have this group of friends that I'll send my scripts to before I send them to a large audience.
I love this script [The Hollars] because I'm lucky enough to come from a really tightknit family.
The script is a bible and it's this unchangeable document that somebody spent years and years on.
I felt, if I never did anything in my life but read scripts and synopsize them, I would be happy.
It's very hard to get a movie made. You could spend your life reading scripts that never got made.