Quotes About Script

I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.

I lock myself up in the apartment when I am writing a script. There's no phone, no Wi-Fi, no distractions whatsoever.

For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like, 'How do I make this film?' That's part of the pleasure, and that's why I'm not a normal professional director.

With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.

Whenever I read a script, I start recasting the role that I might play. I'm like, 'God, this should be played by Domhnall Gleeson, not me.'

Whenever you're playing somebody who is, by all accounts, rotten, don't focus on the rotten stuff. That stuff will take care of itself. It's already in the script; the audience is already experiencing it without you having to add an extra feel of evil. Just play them like regular people.

I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

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.

Televison is time bound. Whereas a movie has time. You can't write a script for television and keep it for one year.

Generally, there's a lot of ad-lib involved with live TV and things like that, whereas with acting in front of the camera, it was, if you screwed up a line, well, you've got another take, and you also had a script to be able to study, so it wasn't all ad-lib and flying by the seat of your pants, which I like both aspects, actually.

Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.

I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.

On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.

Most good actors you work with, they actually bring something to the creative process and to the script. They help shape the character with you. Whereas, some actors are so worried about their image and not about the character, it doesn't help the story.

I don't know about others, but I want to work in India, America, Iran, Europe, and Russia - everywhere. I am a sucker for good script; I'll go wherever it'll take me.

One of the problems with 'SNL' is that, if you tried to adlib, the director would put you off camera and off the mic, so only you would know that you ever did it. The director always directed to the script; he wasn't listening to what you were doing. He was calling shots whilst looking at the page.

I judge my film choices based on the director, and then I see how much the story has affected me when I read it or when I hear it in the narration. Then comes how important my role is in it, but primarily director, script, and then role.

I prefer exiting from projects that don't meet certain conditions, which primarily have to do with the script. When I'm disturbed, I can't act. I'm no use as a non-actor, right?

All you need to focus on is your craft and how you act; and, of course, script selection, which is a primary reason for anybody's success because, in today's day and age, everyone is talented irrespective of fields.

For me, my level of comfort is the prime factor. I'd never compromise on my comfort, no matter how much a script needs it.

There is no hard and fast rule that I only work with debutants. I give prime importance to script, and when that works out, everything else falls in place automatically. In fact, most debutants express interest to work with me.

I didn't want to get into any Amazon Prime Video show just like that. I was waiting for a big series to come where the script is good, the role is good and where there's great talent.

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

I am a little old fashioned, and I love to have my scripts printed out. There is something magical about feeling the paper, making notes and page marks.