Quotes of All Topics . Occasions . Authors
I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
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.
I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.
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 don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again.
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.
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.
Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.
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.
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.
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.
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.
I'm not a big fan of table reads or sitting around a table and reading a script. I'd rather do it on set and do it for real.
Like, literally, when you get the script, you're like, 'Whoa, I hope the Black Hood isn't after me.' I guess we'll find out.
I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.
You can trust a Neil Simon script. Every dot. Every dash; that pause means something. He takes all the jokes out, practically.
I remember my dad working with me on breaking down my script and writing out a back story for my character and all that stuff.
I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?
I've always felt that I'm in a spontaneous business and if you script something, if you plan something, it will sound that way.
Your mind just goes to the craziest idea to lure people into the theater, and then you write your script around those elements.
I don't get rattled about the big things. I get rattled when I have to pick up my laundry, get gas in the car, pick up a script.
I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.
I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers.
I won't work on anyone's else's script. I won't write for anyone else. I write my own stuff and make that when the time is right.
People always say a script will be 'brought to life in a magical way,' but for me that has been proven wrong time and time again.
I used to write stories and poetry, but for some reason I have it in my head that if I'm going to write, I have to write a script.
Kevin's mind goes to extremely interesting places. Every time we get a script, I go, 'Oh my God, I really didn't see that coming'.
My feeling about the movies is that most of them are terrible. If you don't have a decent script and a decent director, forget it.
Twitter is so short, it's safe. I don't want my bosses to be like, 'Hey, your script is due and we saw you wrote four blog pages.'
Usually when I write a script, I have in mind some real people that I'm writing about, who don't always act in the film afterward.
What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.
I opened the script to the 'The Wall,' and 15 minutes later I was done with it, and I loved the movie and wanted to be part of it.
I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you.
'Scalped' No. 1 was only the third comic script I'd ever written. I really learned a lot about writing on the fly with that series.
I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.
I take a script and mull over it and underline the bits I want to emphasize. When I go to the set, I know exactly what I want to do.
I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.
As far as I know, if you take your time, write a good script and make a good film, then give the audience time, they will accept it.
I usually choose movies that I would want to see. I appreciate drama and if the right script came across my desk, drama you will see.
When the script for 'Once' came my way, I had the thought that maybe it will last only a season. But I was willing to take that risk.
I think part of the problem sometimes is that there's so much happening in my books, to whittle it down into a single script is hard.
I do actually dabble in a bit of poetry! And I'm yet to pen a script, but it is something that I've been telling myself I want to do.
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.
Give Obama a script he has made his own, and he is the motivational speaker to end all speakers. Tony Robbins cloned with Honest Abe.
It all starts with the script: it's not worth taking myself away from my family if I don't have something I'm really passionate about.
I get asked to give stuff to my dad. I'm, like, 'I'm not gonna pass your script to him!' You know? My dad's my dad. I'm not his agent.