Quotes About Scripts

It's very unusual on 'Game of Thrones' for there to be a deleted scene because the scripts are pretty locked in. There's rarely a reason to say, 'Hey, we don't need this scene.'

I was unusual looking - I didn't have the look of that time. If you look at 'Lucas' - and, basically, my first five or six movies - the characters are not described in the scripts as attractive people.

It's unusual when you get scripts not wanting to change things - I'm one of those actors who writers must hate as I'm always wanting to rewrite or swap bits about.

I've always wanted to work in America because of those brilliant east-coast political movies of the '70s and '80s - great scripts, wonderful performances, gritty urban parable.

I want to work with intelligent people and look for scripts that I think are intelligent and surprising.

As an actor, you read so many scripts and parts written for Asian-specific characters, and you see a lot of stereotypes and a lot of one-note characters, especially in comedy.

I'm not one of those shoppers where I go to a store and I'm like, trying it on, I'm not sure, 'Oh, can you put this on hold?' No. It's either love it or hate it. And it's the same way with scripts. I usually know within the first 10 pages. If I don't latch into it by then, then it's not going to happen.

There are a lot of good stories out there, but I haven't found too many great scripts.

I give preference to scripts and of course, the importance of my role in the storyline. Still I am not after hero roles. I take such roles only when I find the scripts exciting.

It's incredibly frustrating to constantly read scripts where you're the girlfriend who is there to further the man's storyline.

I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.

For me, movies and television are interesting because they are the dominant storytelling form of our time. My first love will always be fiction, and especially novels, but I'm a writer... I write poetry and essays and criticism and I'd love to write a whole play, and sometimes I even write scripts.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

I never read the scripts at all carefully and never wanted to know what was going on, because i felt that being a benevolent alien, that's the way it should be

I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it.

You try to go where the great scripts are, if you can, or you go where the not great scripts are, because that's what's being offered to you.

Television offered me the opportunity to do new things; I had written a lot of scripts other than scary movies. I had actually written some romantic comedies and stuff that I really wanted to try my hand at, and nobody would let me do that. Television allowed me to do anything I wanted.

I did get offers from Hollywood, but they were all scripts with monsters in them. If I had done them, I would have disappeared. I would have come back to France anyway, and I would have had to start all over again and lost a lot of time.

I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.

Both my mom and my dad have always included me in intelligent conversations about people, about characters, about how people work. My dad and my mom still read all scripts that I find interesting. I send them an e-mail, and I'm like, 'Okay, I have my eye on this,' or whatever.

Many people from the industry come up to me and say 'We don't see you onscreen much.' But where are the scripts? Do you think I am not sitting in my office and waiting for something like 'Matru' to happen to me? I would love to do four such films in a year.

the fundamentally paradoxical ways that our very subjectivities are constituted: as cultural scripts, as texts written before us as us. It is confusing being a novel, a piece of fiction that considers itself a simple fact.

To the question of writing at all we have sometimes been counselled to forget it, or rather the writing of books. What is required, we are told, is plays and films. Books are out of date! The book is dead, long live television! One question which is not even raised let alone considered is: Who will write the drama and film scripts when the generation that can read and write has been used up?

Variety is the spice of life." But notice that it does not say, "Variety is the entrée of life." Nobody dines on pepper and oregano. A little novelty can go a long way. Learn to recognize your own scripts. Play with them, poke at them, disrupt them. Not all the time—just enough to keep those brown shoes looking fresh.