Scripts Quotations | Page 7

Once a script is released that doesn't mean it's the final product. It's not set in stone.

The first thing I thought [when I read the script] was that Frasier was an intellectual at some points but also an Everyman - flawed and very insecure.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

As an actor, you're always reading scripts looking for something good.

I spent as much time writing proposals in '98 and '99 as I did writing scripts.

Acting is very competitive. There are few good scripts out there and the ones that are good are very competitive. You look at your options and often times they're not too appealing.

Maybe I'm just not that humble but our script is awesome. Like Jason is so into the Muppets and such a fan. I'm such a fan of Muppets.

I don't get involved in casting, budgets, location or promotion. Just the script. And, of course, the promotional tour. Which is fine with me - I'm a novelist.

Before I read the script [The Following], I saw the schedule, and imagine how confusing that was. I thought it was intriguing. I'm an actress. Even if it's, by proxy, all about me, I'm all for it. It was all about me, but I didn't have to show up, so it was great.

I keep every script from every film that I ever made because it's like a workbook of that time in my life.

Ultimately, the transcript of your prayers becomes the script of your life.

Prayers are prophecies. They are the best predictors of your spiritual future. Who you become is determined by how you pray. Ultimately, the transcript of your prayers becomes the script of your life.

I've written plenty of scripts that sucked.

It'll take me a lot longer to read a script if there's no director attached.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

I don't see the script as just a springboard for my interpretation. You do your best to serve the vision writers have - not by removing yourself from the equation, but by trying to filter what they intended through your artistry.

I'm always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.

Katie Dippold, who I wrote the script with, she's very into ghosts and all that. So I go, "Hey, why don't you talk to Katie?"

I'm a great fan of Michael Mann and when he asked to see me I couldn't believe it. I was very happy. I met him and I read this beautiful script. I didn't know anything about Dillinger. I fell in love with the movie and Michael Mann.

Sometimes you read a script and it's like, "You'll improv and this is just a blueprint of what the scene could be," and that's never a good sign. And it's never encouraging as an actor to take that on, really.

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear.

There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.

I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?

After playing Saffy in 'Ab Fab', I needed to take time out from acting to see if I really wanted to do it. I had been doing it for a very long time and I was being sent the same sort of scripts again and again.

Sometimes, something seems dead, and then out of the blue, someone just figures out the way to fix a script and it goes.

You have to write a lot of scripts to get any scripts that are worth making.

Most scripts are bad. I read a lot of them.

I've never known a situation in my career where a terrible script turned into a movie that was out of this world or was a success.

It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go.

It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting.

It is easier to port a shell than a shell script.

At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie.

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.

I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out.

I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.

How can I change me to suit the script?

I wrote a lot when I was younger, though never anything like plays or scripts.

But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering.

What is your Primary Aim? Where is the script to make your dreams come true?

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

Writing a great script - not just a good one, but a great one - is almost an impossible task.

My thing is that most scripts arent bad scripts, theyre just not finished yet.

I had read enough mediocre scripts and was determined not to inflict another one on the world.

Only a few of us will admit it, but actors will sometimes read a script like this: bullshit...bullshit...my part...blah, blah, blah...my part...bullshit...

If theres something really, really bothering me about a script, then Ill say something, but otherwise I find my answers in the script.

I was deliciously happy filming 'True Blood.' I even kept all the scripts in my office, which I never do with any script. Although I did shred them all in one go when the series finished; it seemed like a ritual, somehow.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

If God is the author of life, there must be a script.

I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.

For years I was doing the excruciating weightlifting of writing scripts - but then I stayed thin and someone else got all the muscles.

Once I started selling scripts for a great deal of money - action scripts, no less, which people tend to pooh-pooh anyway - then I started to get some backlash. Which I didn't mind.

The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.

I'm always trying to work on scripts. I'm pretty selective. Sometimes maybe too much because I'm broke .

Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.

At Christmas, individuals are apportioned their roles in the family script - you're either the funny one or the sensitive one; or you either do the cooking or the washing up. And those roles aren't easy to change.

So "Embrace Of The Serpent" is told from the points of view and in the languages of the indigenous peoples of the Amazon. He [Guerra] went there before shooting began, with a script written mostly in Spanish.

I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.

I was open to anything. That doesn't mean I would do anything, it just means I was open to anything. I've met for dramas, single camera comedy, multi-camera comedy. I take each script as an individual project.

If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge.

I want the scripts Leonardo DiCaprio doesn't have time for. Joseph Gordon-Levitt isn't available? Call me.

The past is a script we are constantly rewriting.

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.

Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft.

If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.

My closet is full of sad little scripts that didn't get made that have sad endings. It's very hard to get a movie made that has a sad ending.

I enjoy writing scripts. I can find out what happens. With an outline, I feel like I'm doing an architectural diagram of something.

I read so many scripts, that I don't do that much leisurely reading of books.

Some scripts you read and say, 'I've just got to do this' and you find a way of making it work. Some things you turn down because of the impact on family.

I wanted to put a reference to masturbation in one of the scripts for the Sandman. It was immediately cut by the editor [Karen Berger]. She told me, "There's no masturbation in the DC Universe." To which my reaction was, "Well, that explains a lot about the DC Universe.

I don't know how I absorb things, but I do. I just absorb them. I don't over read the script, and I don't really ever spend much time learning it.

To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'

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.

[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.

Part of me was fascinated by the idea that I would only get next week's episode a week in advance and wouldn't actually know where I was going with it, until the script landed on my mat. But, part of me wanted to know what was going to happen.

I've been fired from a situational comedy with a script they wrote specifically for me because of my voice.

The most important thing is the script.

I don't like the word 'autobiography.' I rather like the term 'autofiction.' The second you make a script out of the story of your life, it becomes fictional. Of course, the truth is never far. But the story is created out of it.

The offers I get are for grandfathers, uncles - and they often die very quickly in the script.

I'd love to work on a script in collaboration.

When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.

If a script writer had come up with a story resembling what you have just achieved, even the Hollywood studios would have refused.

Even if the script's well written there's something about the life of an improvisation that resonates better than a written word, sometimes.

You either learn your way towards writing your own script in life, or you unwittingly become an actor in someone else's script.

The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.

Lots of scripts are written and not made, even scripts that people want to make.

I'd never read a piece of television where it's an hour script and it's perfect.

Id love to work in the States; Id love to work anywhere where you get a good script and a good part to play. But I do love British film as well.

Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.

You know, the better scripts I've seen lately have been comedy scripts.

You can open scripts created by screenwriting software like Final Draft. You can then audition all the takes for an individual line. When you get the reading you like best, you double click and add that to the timeline.

I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.

The Hollywood model is to develop scripts for 10 years, sell them, transfer them, attach this actor, then attach a director. This isn't what I'm about. I'm much more of a creator and a doer.

When I read the scripts, I'm always so excited to see what's going to happen because it's unpredictable.

It's one of the most beautiful scripts [Brokeback Mountain] I've ever read, and it was Ang Lee, and at the time Heath [Ledger] was a friend of mine - before we even shot the movie - and always sort of alluring to me.

There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations.

'The Inbetweeners' would have been a success with a totally different cast because the scripts are good - so while we were fortunate enough to be cast in it, we feel we still have a lot to prove.

'The Glass Menagerie' by Tennessee Williams is a great play. I had to read it for school when I was younger, but I started writing scripts after that. That's what got me into writing.

The curse of being on Frasier is the challenge of finding writing that's that good in any other medium. I've been looking at scripts for two years.

Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.

I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class.