Scripts Quotations

I regard myself as a beautiful musical instrument, and my role is to contribute that instrument to scripts worthy of it.

I would love to occasionally do English-speaking films, but the script is as important for me as the director.

I don't act, anyway. The stuff is all injected as we go along. My pictures are made without script or written directions of any kind

I think sometimes soap acting gets an unfair label for being bad and over the top. The lessons I learned there were so valuable. Seeing yourself every day on television, you learned what worked and didn't work, what was bad acting and what wasn't. Memorizing scripts became second nature.

Don't allow old traditions to become permanent mental scripts for managing your life in the present. Reason: you will not be able to transform yourself to think differently and be better as you grow with age and maturity.

I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.

The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.

Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.

About half the scripts sent to me feature characters I just can't identify with, particularly one-dimensional businessmen or, if it's a comedy, some absurd 10-year-old Japanese stereotype, some role related to IT or business... There's no point in getting mad about it; it's just the way things are.

A lot of things I have turned down ended up being a big embarrassment. Like that script, 'The Beaver.' I thought that was one of the worst scripts I had ever read. But everyone said, 'Ooh it's on the Black List.' Yeah, well, good for it. They're a bunch of idiots. I saw the final film, and there were no surprises.

I read a lot of scripts, so I know by page 25 if I like it or not.

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.

It's true, I'm the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesn't care. That's good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. It's about finding great scripts and bringing them to life.

I don't want this big stardom thing. I just want a good script.

Alexander Payne's very specific. His scripts are always complete when you start working on them.

If I'm having a bad day in rehearsal, I'll sleep with my script.

A lot of our favorite comedies in general are usually directed by writers, whether or not they wrote the original script themselves.

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

Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.

You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.

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

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.

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

I'm probably not very funny. The scripts just don't come in, or the ones that do aren't that good. I suppose I'm just an old drama queen, really.

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.

I have a lot of incomplete short films and incomplete scripts out there.

I love Marlon Brando and James Dean. That was when it was all about the star and the script. Nowadays, everything has to be action-packed.

'West' is one of those scripts that, when it came out, everyone wanted a piece of it and everyone wanted to be involved in it.

'Carrie Diaries' was one of the scripts that was sent my way, and it was instantly something I wanted to work on. It was very charming, and there's a lot of heart to it. It was touching and nostalgic and relatable, and it validates so many coming-of-age issues in an open and honest way. I think it speaks to real life.

Hmm, limelight... No, I'm not Sienna Miller or Angelina Jolie. I'm very lucky and happy, but I still find it very difficult to get good scripts and good roles. It's really a jungle out there.

I find the most interesting and most daring scripts tend to be for independent films.

I don't sit around and study the pages of a script over and over again.

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

I wouldn't know a good script if it bit me in the face.

The script for 'In Good Company' was the first one I ever showed my dad.

Howard Minsky had gotten the script to her agent prior to my involvement.

It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.

I just choose the scripts I want to work on. I don't know why. It's not something conscious or that I'm doing on purpose.

Every script I've written and every series I've produced have expressed the things I most deeply believe.

Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered.

What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.

I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.

Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing cause anything can change in a script.

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

What Bollywood lacks is scripts. A lot of the films are copies of western films.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

I always choose my projects for the script or what the director want to tell with that story. And if I like the story.

I've always scribbled, and I still do it. I've written numerous scripts for films for which I think I'd be perfect as the complex, intelligent and, yes, modern heroine. Embarrassingly bad, all of them. I've had to come to terms with the fact that I'm not a writer.

There are two separate scripts for 'Mockingjay' parts one and two. It's definitely one story, but there are two totally distinct and separate scripts.

Most of my movies are indies. The best scripts I can find are independent films. But I love big-budget movies, I love craft services!

I do remember reading the script of 'The Nightmare Fair' and looking forward to doing it.

I get a lot of dark scripts now. I don't wanna be stuck doing movies like American Pie. For someone my age, once you get started doing them, it's hard to get out.

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

Okay, I am happy with the way I look, but I have never, never, ever thought of myself as a 'pretty girl.' Honestly. When I read some of these scripts I'm sent, and they describe the heroine as 'incredibly beautiful,' I wonder why they sent it to me.

As the scripts come in they are sent to the artists, and the artists are either very busy, or ready to start.

I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.

Give me a good script, and I'll be a hundred times better as a director.

You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin.

You try to go where the great scripts are, if you can, or you go where the not great scripts are, because that's what's being offered to you.

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.

My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.

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

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.

I don't really want to just play the girlfriend or the love interest. I get so many scripts like that, and - not to moan, because I'm really fortunate - but I just look at those scripts, and my heart sinks a little bit because I think there's so much more to us than that.

A script is not a piece of literature it's a process.

The thing I noticed about Jack was when we did a reading of the script, just to warm up.

And I don't think I'm giving away any secrets here, but there are a lot of terrible scripts in this town.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

When we started in the early '60s, football had a little bit of a tradition. But, they didn't have a mythology. And NFL Films, through our music and our scripts and our photography, created a mythology for the sport.

For me, I've always been one that reads a script and has been ready, wiling and able to go out and fight for parts.

I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to.

Nobody taught Picasso how to paint - he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.

Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor.

When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.

American scripts are usually non-stop conversation. People talking over each other. I like that.

After my film 'The Tale of Two Sisters,' I received a lot of offers from Hollywood to direct, but because 'A Tale of Two Sisters' was a horror film, I received a lot of horror films. But I wasn't interested in working in the same genre, and the scripts I received for films in different genres were for projects that were near completion.

The deciphering of ancient scripts changed forever the way Europeans were able to imagine the story of humanity, destroying centuries of received authority about the past with repercussions as important for our understanding of time and history as the geological studies of the same period.

I always get quite close to my script because I work quite hard on them.

Just like a script, you need to keep a business plan to yourself.

I don't care for horror and fantasy films. I never go to see them in the theater. I know I've played in many of them, but I didn't do them because of their genre - I did them just because I loved their scripts.

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

For me, my rule in this industry is I've got to listen to my butterflies. So if I got butterflies, then those are the scripts I go after.

It's very rare to have rehearsal time on a television show: You get scripts, you show up, and you do it.

I did three or four weeks of work on 'Godzilla;' it wasn't a page-one rewrite or anything like that. The term is 'script doctoring,' is what I did on it.

But I have a list of books that I want to read before I die, and whenever I get time to read something that isn't a script, I'll read something from that.

I'm still fighting for parts - it's not like I'm sitting with a big pile of scripts putting them in a 'yes' and 'no' pile.

I really like acting but, just now, the more I read a script I find myself thinking I'd like to direct rather than act.

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

I don't really look for a script and go, 'I need to do a thriller, so I'm going to do this.' I just read scripts and look for the best possible story.

I've auctioned off many scripts and will continue to do so for good causes.

Once you've agreed the script, you must be willing to go as far as it needs to go on set.

They sent me the script and I thought that there was something very appealing and funny about it. Also, I was familiar with Mike Myers work in Saturday Night Live, but I did not know the extent to which he would make this creation.

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.

The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.

I hate going to bed. I read scripts, clean, listen to the radio - I've fallen asleep to 'This American Life' more times than I can count!

Ever since the movie premiered at Cannes, I've had a sudden surge of scripts and interest