Quotes of All Topics . Occasions . Authors
I really think that reading a whole script is kind of prying and neurotic, don't you?
I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.
I work from my heart. When I look at the script, I need to feel myself in the character.
The thing I noticed about Jack was when we did a reading of the script, just to warm up.
With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.
When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.
Even as an actor, I think like a storyteller. My parents raised us to look at the script.
Once you've agreed the script, you must be willing to go as far as it needs to go on set.
I am mostly concerned about the script. If I get something that excites me, I will do it.
We had a script reading, and that's where we met J.K. Rowling, which was really exciting.
I do remember reading the script of 'The Nightmare Fair' and looking forward to doing it.
I like my characters to be ones I think about long after I've finished reading the script.
Get an Alan Bennett script; then everybody will want to do it, no matter how big they are.
If you think about what 'The Killing' is, it is the theatrical production, not the script.
We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.
When I get a new script my mom will read them and just be aghast. I think it's hysterical.
'City of Bohane' has been optioned for film, and I've finished a first draft of the script.
The only time you actually are a spectator of your own work is the day you read the script.
These things are hard to pin down. We work on a script a bit, then work on a different one.
I want to write a script, but before that, I am planning to compile a book of short stories.
When I read the script, I was like, Hello, woman in a box. I had to explore that to the end.
I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines.
Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.
If I've still got my pants on in the second scene, I think they've sent me the wrong script.
If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.
Even the busboys at the restaurants have a script to give you. Everybody is in the business.
Well if somebody's giving me a script, I'll consider it. But it's not something I'm chasing.
I was concerned about doing a sequel and repeating myself. That was before I read the script.
Of course, I'm not allowed to talk about the script, but I can say it is a really good story.
My experience is that's rare - that you have a script that is... what they call 'film-ready.'
Often in television, you read a script and you're amazed that you get the scene given to you.
I can also romance a guy if I like the character and the script. Obviously, only in the film!
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.
I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out.
You can dress it up, but it comes down to the fact that a movie is only as good as its script.
I always feel this huge responsibility to the script when it arrives, keeping it confidential.
I still take work if I think it's good. If I like the script, I'll do it. If I don't, I won't.
The offers I get are for grandfathers, uncles - and they often die very quickly in the script.
I don't want to know what happens because I enjoy picking up a script and going, 'I do what?!'
I am very much open to doing cinematography for any talented filmmaker, if the script is good.
I've always felt that in a comedy script the stage directions should also have a comedic value.
When I went to the 'Rush' audition, I was blown away by the script. I thought it was fantastic.
It's eighty percent script and twenty percent you get great actors. There's nothing else to it.
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.
If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
In 'Boomerang,' they didn't have a script at all, they just told me to come up with some stuff.
Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.
The difference between life and the movies is that a script has to make sense, and life doesn't.