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I went to film school, worked as an assistant, and wrote several scripts that haven't gotten made.

In an ideal world, I'd bounce between big projects and no-budget TV dramas with fantastic scripts.

When you have the top show your scripts have to be more than competitive. They should be the best.

It's nice to finally get scripts offered to me that aren't the ones Tom Hanks wipes his butt with.

Often jobs are un-turndownable even before you read the script. You go, "Well, I have to do that."

I'm looking for little movies that are good instead of picking scripts in pursuit of superstardom.

Am I getting better at making choices? Well, I think I might be getting better at reading scripts.

When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.

I think it's incumbent on actresses to bring something else to the part which isn't in the script.

The script is what you`ve dreamed up - this is what it should be. The film is what you end up with.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

For the most part I pick movies based on the merit of the script, and the merit of the script only.

Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?'

I was out to have a good time and have some fun. It's a fun script and fun people are in the movie.

Every screenwriter worthy of the name has already directed his film when he has written his script.

As hard as you try to write a good script and you have great intentions, this alchemy has to occur.

I think sequels should be earned and we won't do it unless the script is better than the first one.

If you have a movie coming out, and people are talking about you, the amount of scripts will build.

The key is, if youre not monkeying around with the script, then everything usually goes pretty well.

I would guess that the price of the script really is secondary. The credit is much more the essence.

I have never turned to my girlfriend and said, Oh, okay, babe, and I see it in scripts all the time.

A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.

I don't really get into a big intellectual analysis of why I am going to do a certain script or not.

I haven't heard anything about a reunion show for Sisters. But if the script was good I would do it.

The approach I take in selecting a script is based on what I fancy from the the scripts I'm offered.

I would get scripts about 'a young swinging bachelor on the make,' and I said, 'No, I've done that.'

It's very rare you get a great script just handed to you, or sent to you, by someone you don't know.

If you read scripts, you would see people rarely speak like that in real life, in complete sentences.

I'm a sucker for a funny script. And then, as soon as I don't wanna be, one comes along and grabs me.

I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.

I am going to have to stick to the script. If I muck around with the words it will defeat the object.

As an actor, it doesn't happen often that somebody sends you a script that is first of all that good.

I regret not doing a film that I was offered with Clark Gable because the script was not good enough.

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

If a script has that affect on me during a reading, then it is definitely a film I want to be part of.

Responsibilities are relative. My responsibility is to a character in a script, to a part I'm playing.

I have never turned to my girlfriend and said, 'Oh, okay, babe,' and I see it in scripts all the time.

But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering.

I don't read much fiction because I already read a lot of scripts, so I want to learn about the world.

I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.

Scripts are what matter... if you get those foundations wrong, then you absolutely don’t stand a shot.

I read the script of [Woman Under the Influence ] 50 times. And I thought about it. And then I did it.

I don't use composers. I research music the way I research the photographs or the facts in my scripts.

I have a lot of trouble with scripts. I have a lot of trouble imagining things while I'm reading them.

The way I choose parts is I look at the scripts... I choose a part by whether or not it challenges me.

I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.

I'm sure great scripts are hard to find, but I'm definitely open, and waiting to see what comes my way.

So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.

I go by my instinct in selecting scripts for my banner. Some times it works and some times it does not.

I don't like to write any music to a script. Experience has taught me that's generally a waste of time.

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