Quotes About Scripts

As an actor, one is constantly reading scripts and interacting with creative teams. Sometimes, things work and sometimes, they don't. It's never in an actor's hands.

I read scripts movie, TV and theater. I read every novel that is published. I read every book that comes out on the theater or the movies, including the technical ones.

I went on an audition once for a show, and the feedback was to play an angry teen. My agent convinced me to try out. I was really bitter for a while, because it sucks when you don't get good scripts after working on good quality.

I get scripts and think, 'There's not enough here to get my teeth stuck into.' That's a result of studying English, where you luxuriate in these big, lush novels.

I try to keep myself busy creatively; it's for my own sanity after auditioning in the city for bad television shows and bad scripts and not being a name and having the clout to get my tapes passed on further.

Some of my scripts need the larger catchment area of Bollywood. But some suit Telugu films.

Soon after 'Paruthiveeran' I was flooded with scripts that were almost the same as the award-winning film. I had offers from Malyalam, Telugu and Kannada filmmakers. But I had to be firm and in fact I realized that now I had to be more careful with my choice of films because I have raised the audience expectations.

Avunu's stellar run at the BO and the positive response from the audience was such that most scripts coming my way from Telugu have been from the horror genre!

The Telugu industry and their scripts are extremely nice.

occlusions derive from colonial scripts: some derive from the conceptual habits we bring to them and the implicit assumptions that our conceptual repertoires leave unaddressed. Sometimes that distinction is hard to draw. Occlusions have multiple sources not easily untangled.

A lot of times you have to dip into the independent world to find the really great projects and the really great scripts. They're out there - you just have to search hard.

When good things come in, my agent calls or sends me the script. But I allow them to sort through the offers so that I am not just sitting and reading everything because honestly, sometimes the scripts that appeal to me are projects that are not good projects, but I just really like the script or the characters.

Some of the best projects I've worked on - 'Dexter,' the 'Bourne' series - were leaps of faith. I couldn't read the scripts in advance.

I'd never properly done pilot season in America. I did it for just a couple of weeks, a couple of years ago. Usually, you get pilot scripts and the initial script quality isn't there.

'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.

I'm open to all kind of scripts. As long as there's enough scope to perform, I'd take up the offer. In fact, before Yuvan and 'TT' happened, I got an opportunity to work with a top actor-director combination. But my height proved to be a setback.

I've got a room full of scripts. They go to the ceiling. I can't even hardly walk into it anymore. Most are original, and there are some adaptations like 'Man's Fate.'

I am not bothered about money. I have no dreams that feature money. I dream only of good cinema and good scripts.

My dad's got a brilliant eye for scripts 'cos he's a literary agent. He and my agent read a load of scripts and filter them.

Showrunning is when you're the constant creative voice in the show. For a year-and-a-half, you are working on the scripts, you're fine-tuning them, you're the final say on the edit, the music and the cast.

I don't have wild dogs chasing people with scripts away from my door. I get my share. I've done okay. But I usually do independent stuff because that's mostly what I'm offered.

I think, because I've been working for a while, I've been working since I was ten, I had the fortune of reading a lot, a lot of scripts.

When I was 23, I went to work for Jack Nicholson reading scripts. Later, I was married to a production designer named Richard Sylbert. So I lived in Los Angeles for ten years.

Writing is a hard gig, and it's hard to convey a lot. That's why scripts tend to be a little bit overwritten.