Quotes About Script

The ancient pages rose among the others, palisaded with strange letters and words, the faint script hardly more readable than the footprints of birds. He read until his eyelids drooped. But as his head dropped, he fancied he caught the sharp savor of sap beneath the chalky dust of the pages, or the heavy perfumes of blossom from the orchards of plums and pears and apples.

All in the Cyrillic alphabet. Named for Saint Cyril, who worked on alphabets in the ninth century.

Writing was a gift eagerly accepted by the ancients. Unfortunately, hiding among the neat rows of carefully incised script was an unwelcome demon—misogyny. In trying to understand what went wrong between the sexes, these two cultures are at the pivot of history.

The midpoint scene occurs just where you'd expect it—about halfway through the script. Syd Field, in The Screenwriter's Workbook, says that it divides the story in half, introducing an event or line of dialogue that helps structure Act Two. In my work consulting on more than 2,000 scripts and teaching many of the best films, I don't find a midpoint scene in every film. But when I do find one, it functions as an excellent tool to help structure a difficult second act.

For writers, a beat works in a script much as a beat works in a piece of music. In a song, single beats are grouped to make up a measure. By adding more beats (thus more measures) you create a phrase, and eventually an entire melody. In the same way, single dramatic beats or moments, placed together, create a scene. And the beats in a scene, together, create the beats of an act, and the beats of an act, together, create an entire film.

I'm afraid I was a little abrupt recently with a producer who sent me a screenplay. It was rubbish, really. I sent it back with a polite rejection. Then he came back with the plea that 'we tailored it just for you.' I replied simply, 'But no one came to take the measurements.

We act out our lives to a soundtrack, thought Isabel, the music that becomes, for a spell, out favourite and is listened to again and again until it stands for the time itself. But that was about all the scripting that we achieved; the rest, for most of us, was extemporising.

As always, so polite that he is at the beginning distant, and yet always determined. This is because he has uses for us all. Yukio is not only a dramatist but also a practicing stage director. For the drama of his life, he has cast us in our various roles, those demanded by the rigor of the script. Each of us has his or her purpose—or else we would not have seen him at all.

You write the script, you get to make the choices, and you get to change your mind, too.

The 2001 season, you couldn't go write that script because nobody would believe you.

Life is like a B-picture script.

But though we must pretend otherwise in order to function, none of us can know the script for any day.

If he could rewrite the day, his life would be the way it always had been, and his future would be as he had planned. But though we must pretend otherwise in order to function, none of us can know the script for any day.

Your plan is a script of what you expect to happen based on your particular method of analysis and provides a clear course of action if it doesn't happen;

If you work in the studio system in America, they've almost got to the point where a computer programme could write scripts. Effectively, they hire and fire enough writers until they get something generic.

Frankenstein' was more programmed, but 'Dracula' we did as it came along because at the beginning we weren't sure how it was going to end - it wasn't written in the script.

The main problem was a pacing problem. I had wanted the project to be about 20-30 issues, and I should have written it out as a full script beforehand.

When you're excited about a project, sometimes it's hard to put a script down.

I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.

For me acting is a passion and an art, and always will only be that. I don't have any rules when it comes to acting. I'll do anything. But it depends on the script. Either I'll have passion for the project or I won't. It's got to fuel me.

I, over the years, have always felt more comfortable if I could go into a projection room and look at a film and not really know what to expect. If you read the script first, you form all kinds of preconceptions about how things look, what the location's like, what the actors are like.

I've seen a lot of friends who have a lot of great projects, whether it's a script or a play or whatever, and it is a great project and they have great people involved, and they can't make it.

I get involved with projects based on three parameters - the script, the actors involved and the director.

Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.