Quotes About Script

In general, when moviemakers talk to scientists, they usually see them as a resource to solve particular technical problems or script problems for them. So, something like: what sort of weaponry would aliens be able to wield?

I don't like most Christmas movies. They're pretty bad, though they seem to make tons of money anyway. Like this movie 'Elf,' I got the script for that, and I turned it down right away. Against my wife's better judgment.

No other aspect of filmmaking has tempted me to do a film other than the script and the story itself.

It's been about ten years since I've worked with actors who knew their lines!

If you are still thinking about a script after five or ten years, that's a sign that it's good - not that it's stale. And the opposite is true - if everyone wants to make your movie, that's a sign that it probably sucks.

I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.

One reason we fell in love with television is we've seen so many movies and they tend to follow a very similar pattern.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

I don't watch scary movies. Sometimes, even having to read the script and do an episode of 'Grimm,' I get a little tense because I know someone's going to jump out of somewhere.

The scripts that I take should be solid in terms of content; only then will my inability as an actor not show up on the screen.

If it's a terrible script, it's a terrible bore.

I didn't know 'Homeland' was going to be 'Homeland.' I just did it because it was a terrific script, and they pitched me the story line, and I was like, 'Huh, that's interesting.'

I'm all for art-house foreign directors - I think they make terrific films - and I'm also for the bigger budget movies. It just depends on what the character is, the director, the script.

For the last four or five years, I had been in the position where I didn't have to take a pilot. I took this one because the script and the people were terrific. It never frightened me. As we were doing the pilot, I could tell that it was working.

You work on a play or movie, you have the whole script, so you're constructing a performance based on the bible that you have. In TV, you don't, so to actually invest in that and let that be the exciting part is terrifying and certainly leaves room for mistakes, looking back.

When you have a script where we say we are just going to do air operations alone within the territory of Iraq, what happens is the forces then that we want to target will move their forces, colocate with hospitals, schools, embed themselves to be very, very difficult to conduct air operations against.

You can over-think things. If the script's good, everything you need is in there. I just try and feel it and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorising rather than being real.

When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.

If the script's good, everything you need is in there. I just try and feel it, and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorizing rather than being real. Maybe every other actor would think that was terrible, I don't know. But it seems to have worked for me, so far.

This is not a tough job. You read a script. If you like the part and the money is OK, you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.

A movie goes from several stages, from idea to script. As you continue shooting, you will make some adjustments. You're constantly adjusting. It's like a piece of music. You're constantly trying to make it better.

This is Quilty's audition ritual: whenever he feels it is time for it, he calls upon himself to audition for love. He has no script, no reliable sense of stage, just a faceful of his heart's own greasepaint and a relentless need for applause.

The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.