Quotes About Script

I used to once believe that the script is the most important thing, but now I also believe that the kind of people you are working with also matters a lot, and moreso, to see how the film will be promoted.

To get a script like 'Death Proof' and to get cast in it just affirmed that I want to do character work; that's where my heart is. Maybe I will get to it again, maybe I won't, but it's what I like to do is play something a little outside of myself. This solidified the desire certainly for me.

When you get a good script, and the director gives you proper lines, half your job is done.

I like having an idea, or hearing an idea, and getting it into a proper script.

It takes time to write a script and properly make the film and edit it.

I don't see how it's a risky thing to take a great part with a great director and a great script. That, to me, is not really a dangerous, risky proposition. It's actually a really good choice.

Nobody just flops a complete 'Doc Martin' script on the desk. They all have to be taken apart and all the apologizing taken out. Because it's hard to have a protagonist that doesn't really like anyone and nobody really likes him; it's a hard premise to start from.

For me, being an actress, my responsibility is not to pay attention to all the noise around me and to pay attention to the script and the director and protect the character and try to tell her story the best I can.

My Writers Guild of America card is one of my proudest possessions. I was given it after being invited to write the script for a film of my last novel, 'Me Before You,' which is being made by MGM. Whenever I look at it, I think, 'I'm a Hollywood writer!'

When I went to the 'Rush' audition, I was blown away by the script. I thought it was fantastic.

You can win more arguments then you might think as a writer, even though you legally have no recourse, and your script can get muddied and altered in any way possible. You can use reason, logic, and passion to argue persuasively for a case in your favor.

'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'

In TV, writers generally are the show runners, and they have enormous control over everything. In feature films, very often the writer will turn in a script and never be heard from again.

I have a nice script for Salman Khan which is much bigger than 'Tere Naam.' I have bought the rights of Tamil film 'Pithamagan,' which featured national award winning actor Vikram who had also done Tamil version of 'Tere Naam.'

I feel like if you feel good about a script, and you feel confident about your ability to direct and just capture it right, it's all just, really, really in your favor there.

I got the 'Max Rose' script, and I fell in love with it. It just hit me. It was something that needed to be made.

I read the script for 'Guncrazy' in 1985 and loved it because it was one of the few scripts I'd come across that revolved around a strong female character.

I have not done any film where my role didn't make sense.

Before, I was writing a script to make a movie. At a certain point, I became A Writer in Film and Television. So I got TV deals to write stuff, film deals to write stuff. But it's dangerous. I got into the WGA, and I became kind of, you know, a slave! They just pay you to write a script, and it's hard to make the movies.

I went to film school, and I came in when video art was king, weird stuff was king, and there, you don't have a script as your bible.

I just don't like filming scenes where it's like, that's not how people talk. People aren't saying a joke every five seconds.

I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.

I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.