Quotes About Script

At the end of the day, you have to sit with the scripts and decide where your heart is.

Films work due to scripts, characters, and what you see on screen.

I just try to do justice to the scripts that are written.

My brother advises me on what kind of films to do, which directors to work with and which scripts have potential.

I choose films based on scripts.

You start out with scripts pre-written, with no specific actor in mind, so you've got to build a character on top of that foundation. It's not just lifting words off the page, it's constructing a history around them as well.

After listening to several scripts, I zeroed in on director Hanu Raghavapudi's script and that's how 'Lie' happened.

When the script for 'Once' came my way, I had the thought that maybe it will last only a season. But I was willing to take that risk.

When I saw the 'Geronimo' script and was offered the part, it was overwhelming in that it brought back all of those feelings - made me feel what it's like to be in those shoes, the same shoes Geronimo himself might have been in.

If I could pick any story idea or script I had that I wanted everything to go exactly right for, it would probably be 'Pacific Rim.'

In general, I don't really think too much about pacing, myself. You kind of look at each script and what each script demands.

Film and television are just different. Film is cool because it's a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so it's constantly a mystery as to what you're going to be doing.

'Gujarat 11' has a good script; it is a full package of entertainment, comedy, emotions and has a message for the audience.

I build my characters from the day they're born to the first page of the script.

I'm not a critic. I'm an actor. I see the role I get given on the page. I try to bring it to life as best as I can.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

It's hard to find scripts that know what they are from page one to page 115.

You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.

I've worked on all sorts of things, like the sci-fi stuff for Vin Diesel, where the script is numbered and is in unphotocopy-able colours and your name is stamped into every page. And it doesn't really help because it creates a false sense of specialness about the thing.

I think if an actor is right for a role, casting sees that, and the words that are on the page, depending on how it's written, can really help your character develop.

For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.

For me, the bottom line is what's on the page.

Whether it is television or film, the character on the page has to speak to me.

I usually just try to do whatever's on the page because I've done research before - including a lot of analysis - but you end up with conflicting data. To me, the script is king.