Quotes About Script

We would change out of costume, then we would read the next days script.

I can't do a one-camera show. I don't know how to do that kind of show where you count in your head and then you do the next line.

It's the cushiest job, but some lines are so funny that I crack up.

There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.

John Sullivan's scripts were always very funny, and cast and crew got on well.

It might sound cliched, but choosing the right script is crucial. I think 'Badmaash Company' was a very big break for me because it gave me a lot of appreciation from the masses. It made me more confident as an actor.

I don't think you can cry if the script is rubbish. I have to feel it; it's as simple as that. It's just like if you're watching something moving, and you feel yourself welling up. It's the same thing. You're just being carried along with the story. There's nothing magical about it. I think I'm in touch with my emotions, and I can't help it.

Screenplays are the currency of Hollywood.

On 'Lab Rats,' I read the script probably three or four times before we ever even do a table read because I want to be completely prepared. And I want to know exactly which beats I have to hit and where I need to make something comical. Some lines need a little more than others do just to get the point across, to get the joke to be funny.

There were rumors I wasn't going to die. The whole cast was sitting around the table reading the script. I fell on the floor - I'm not kidding. I looked up at Katherine Heigl, and she was crying.

I remember the first reading of the script we had and everybody was sitting around the table. I was very impressed with the level of acting that was in the room, particularly with Jennifer who has so much responsibility.

'FlashForward' was on the outs when I was approached with 'Happy Endings.' I literally got the script on a Friday, and on Saturday morning I met with David Caspe, Jamie Tarses, and the Russo brothers. I took the role on that Saturday, and on Monday I was doing a table read. It all happened very fast, but it was super exciting.

I get horrified when I have to do table reads with the whole cast, because there's a lot of stuttering coming from me, so I have to do a lot of prep.

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.

I don't want to do 85 scenes in a film that has no head or tail.

I am very much open to doing cinematography for any talented filmmaker, if the script is good.

I'm quite curious and excited about seeing a new script for 'Blade Runner.' If, in fact, the opportunity would exist to do another, if it's a good script, I would be very anxious to work with Ridley Scott again; he's a very talented and passionate filmmaker. And I think it would be very interesting to revisit the character.

'Looper' was a wonderful script. Rian Johnson is the real deal and a really talented filmmaker.

I truly think a long career is to keep the audience guessing and not being able to be boxed, and for me, I'm not hell-bent on playing the lead in things as long its an interesting character with phenomenally talented people, and it's a script that I feel is genuinely innovative, creative, and potentially interesting for an audience.

Long ago, I did a five-and-a-half-hour-a-day, six-day-a-week talk show for four years, early on, in Los Angeles - local show. And when you are on that many hours with no script, you know, you get very comfortable, maybe overly comfortable with that small audience.

We began to do little things, have little scenes where we just talked about things that had nothing to do with the plot. In fact, in the beginning, they didn't want us to do that. But as time went on, you see that in so many shows. I think we were the first to do that.

I read the script first to get the perspective on the whole story, the writing, and how the character I'm auditioning for is talked about by other people or relates to other people; from there, I go into the sides.

I definitely had to be talked into 'American Pie: Reunion.' I was hesitant because I'm on a show, and I felt, 'I'm happy. I've got my family.' But then I met the directors, who also wrote it, and once I read the script, I was like, 'OK, sign me up.'

'Tango' is very much an ensemble piece and I was devastated when I read the script.