Quotes of All Topics . Occasions . Authors
At the same time, reading an action script... It makes me wonder. Was The Matrix a good script? I don't know.
When I first read the script, I realized that Katie would have to be played as a rather down-to-earth person.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
It's an unfair comparison because when things are developed in the UK, they're developed at script stage only.
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
House was the first film where I had no influence on the script. I had to buy the script with the game rights.
When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.
'War on Everyone,' I think... the script was hilarious to me, but it's very dark, dark humor. It's super dark.
A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.
Script for an actor is like a bible. You carry it with you, you read it over and over, you go to your passages.
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.
Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
I will do films in any of the languages, provided the script is good. The region and the language don't matter.
So many times, you pick up a script, and you think, 'OK, so she's the sexy one,' or, 'She's the ex-girlfriend.'
I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.
I never put down a bad script and I never walk out of a bad movie because I'm always hopeful things will change.
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.
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.
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 think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.
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.
It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.
Why hire these geniuses if they're forced to stick with the script? You want to empower your actors as collaborators.
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 always choose my projects for the script or what the director want to tell with that story. And if I like the story.
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.
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.
To me, the most important thing is the script. I would never make a movie that I didn't write. I wouldn't know how to.
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.
My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.
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.
I've sold shows based on my standup twice to CBS, but they've never gone past the script stage. TV is very competitive.
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.
I'm the only person who's ever opened the Oscars or done a spot on the Oscars without a script and having it on autocue.
When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel.
Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.
For me, my level of comfort is the prime factor. I'd never compromise on my comfort, no matter how much a script needs it.
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.
It's all about the script. I don't want to do something which makes me feel uncomfortable. It should suit my image and age.