Quotes of All Topics . Occasions . Authors
I get involved with projects based on three parameters - the script, the actors involved and the director.
I keep every script from every film that I ever made because it's like a workbook of that time in my life.
Are Christians too stupid that we can't write a script, we can't film a movie OR we don't know how to act?
If someone comes with an interesting script where the negative role suits me, I will definitely take it up.
I accept offers only when people approach me with a good script, and all those experiences have been great.
If I put the script down more than once, there's a good chance that I probably don't want to play the part.
Anyway, he and I worked on the script together, and I must say he was a joy to work with. Very enthusiastic.
If the script is telling the story well, that is your inspiration, and you do not need to go somewhere else.
I think a good script is a rare thing, and I think no matter who you are you have to fight for the good ones.
When I first read the script, I realized that Katie would have to be played as a rather down-to-earth person.
With a bad script and even the best cast, the most you can hope for is to turn a sow's ear into a silk purse.
I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.
At the same time, reading an action script... It makes me wonder. Was The Matrix a good script? I don't know.
You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.
It's an unfair comparison because when things are developed in the UK, they're developed at script stage only.
A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.
'War on Everyone,' I think... the script was hilarious to me, but it's very dark, dark humor. It's super dark.
When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.
The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
House was the first film where I had no influence on the script. I had to buy the script with the game rights.
I will do films in any of the languages, provided the script is good. The region and the language don't matter.
Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages.
So many times, you pick up a script, and you think, 'OK, so she's the sexy one,' or, 'She's the ex-girlfriend.'
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.
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 never put down a bad script and I never walk out of a bad movie because I'm always hopeful things will change.
I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.
There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
I got the 'Max Rose' script, and I fell in love with it. It just hit me. It was something that needed to be made.
I've got an awful memory, and I can't read or write, but you can read me a script once or twice, and I've got it.
I don't make a conscious effort to choose any particular genre. If I like the script, I go ahead with the project.
In the past, I'd been sort of a fan of writing a coat hanger of a script, and something I could hang ideas off of.
I am only looking forward to good film script. It doesn't matter if the role is a supporting or a standalone role.
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'm used to changing a lot of the dialogue. But if I feel like the script is working, I don't want to mess with it.
Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.
Televison is time bound. Whereas a movie has time. You can't write a script for television and keep it for one year.
When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.
It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.
For me to take a role, I read a script, and I think, 'Wow, I don't know how I'm going to do this, but I want to try.'
I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.
Why hire these geniuses if they're forced to stick with the script? You want to empower your actors as collaborators.
I'm not saying I'm a writer, but I've been in movies for a long time, and I think I could write a script for a movie.
I've never been able to write a movie script. I respect that skill so much, but it's not been the way my brain works.
I think every script I read has something that sends me into a state of panic but that usually makes me want to do it.
When I'm the one who sits down and looks at the blank page and writes it out all the way, then I'll call it my script.
I don't start writing a script until I can see it all in my head, then it's a matter of getting it down in white heat.