Quotes About Scripts

Writing is getting killed by too many chefs. Back in the Bogart days, it started with great scripts. You had a writer, and he wrote a script, and that was your movie. I think that's been watered down a bit lately.

I don't plan or schedule my career thinking first I will play a common man, then a police officer, then a superhero. I love good scripts, and I don't care if I play the main part in it or not. I want to be a part of good films. That's my dream... 'Jacobinte Swargarajyam' was that film for me.

Movies, to a large extent, stand or fall on the strength of their scripts. But a documentary is a collection of found objects: fragments you've collected, accidents of interview and happenstance, pieces of stock footage that surface in the course of six to nine months of research and production.

Ever since the movie premiered at Cannes, I've had a sudden surge of scripts and interest.

You don't want the white men to be written in a three-dimensional way but the black men, not. I mean, it's just about [how] scripts should always reflect real human beings. So that's what I look for.

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.

I don't use composers. I research music the way I research the photographs or the facts in my scripts.

I always pick what I consider to be good scripts.

You see a lot of good ideas or well-written scripts that are bad ideas.

I have a very good memory for scripts. I can watch a show I like once, then remember about 90% of the script. But ask me who was in it, and I wouldn't have a clue.

In the book, I tell the story of seeing old movies when I was young and acting out scenes at home. Now I get scripts, and I act them out.

There's not a huge pile of scripts at home. It's what happens to be on the table at that moment with your availability. And then you have no control over when these things come out.

There are tons of stories out there. I read a lot of scripts on a weekly basis. I'm looking for stories to tell and stories that I hope will be interesting to an audience.

When I entered the industry, I wanted to work with good directors like Mani Ratnam and Gautam Menon; that's why I did Tamil films. I realised later that I was not adding anything to the Tamil scripts and that it was a waste of time for me.

I'm cold in summer. I'm the coldest person ever! It's very ironic I'm never cold in the scripts. Every time I'm shooting, if you don't see a part of me, there are hot water bottles there.

Hollywood versions of watershed moments in American history are generally high-minded shlock. 'JFK,' 'The People vs. Larry Flynt,' even 'Lincoln': all of these boast excellent performances in scripts that are ultimately very conventional, even conservative.

Scripts were rather scarce in 1968. We did a lot of Amiri Baraka's plays, the agitprop stuff he was writing. It was at a time when black student organizations were active on the campuses, so we were invited to the colleges around Pittsburgh and Ohio, and even as far away as Jackson, Mississippi.

I don't like violence, in reel or real life. I prefer the quiet, beautiful genre of movies where everything is rosy and pleasant. I stay away from extreme sadness in my scripts and, somehow, I can't make movies for kids.

Nowadays, the actors who say that they get plenty of scripts everyday but don't have time to go through them are nothing but big liars. The reality is - they don't even have a single script in their hand!

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.

I am extremely choosy about the scripts that I accept. I choose movies from an audience point of view - keeping in mind what they would like to watch.

I'll read, like, ten scripts, and then sometimes if I'm lucky, there will be two or three scripts that I like, and sometimes they'll all be dramas, or they'll all be comedies, or there will be two dramas and a comedy, and then I'll go for whatever. If I have to audition, I'll audition. If it's an offer, great.

Comics writing is for your artist. It's not for the general reader; it's for the artist. So I love writing scripts for artists.

I just read the scripts that come to me, and I see the ones which I really kind of understand and connect with, whether that's a science fiction or a period piece. It doesn't really matter as long as they're original and I have something to do with the character.