Quotes About Script

Success is not important to me, nor are power or money. If the script feels good, then I'm in. It's that simple.

Once the screenplay is finished, I'd just as soon not make the film at all ... I have a strongly visual mind. I visualise a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score ... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception

For him to claim now that he'd dashed off a spec script brilliant enough to win him a fat Hollywood contract did not merely strain Credulity; it beat the crap out of Credulity and sent Credulity's next of kin scurrying to its bedside.

I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks.

narrated a finely honed script that spoke of the key moments in our beloved tale. This was Star Wars – In Concert.

To find a script that works with provocative ideas is hard to find.

You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.

I had been quite judicious about the scripts I was reading, but nothing was really taking my fancy until I pulled this script out: 'Lucifer.' I have to say, within about three or four pages, I thought it was hilarious; I laughed out loud a couple of times and knew this is the one that I wanted to do.

I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.

There's nothing like working with the best actors possible, and if you have a piece of material like, 'Long Way Down' or 'Love Punch,' which allows you to play, then it's just a joy to go to work.

An actor can give his best shot but the script and dialogues have to have punch to make it more effective.

I feel the best scripts are those that are originally written to be films: that is film in its purest sense.

I am a fan of all genres. My big thing is to serve the purpose of the script and what the director wants. If it's a comedy, I want to be funny; if it's action, I want to bring the action. If it's drama, I want to be the catalyst for that drama. That's the fun part; it never gets boring being an actor.

We're not militant, but there are certain things that are absolutely secret. There was a pilot printed on red paper, and I read everything on my iPad and have a scanner on my desk for these purposes. I scanned in the script, and red paper script scans in perfectly fine.

I had to push exposition through dialogue, which is really, really hard for an actor do.

I need to push myself. I'm not saying that I just want to do anything that's shocking, but when you have that combination of a script that's really beautiful and extremely shocking, it's exciting for me.

'The Fosters' is such a fun show to shoot, and I always look forward to getting the new script because we keep pushing the boundaries.

There's no mystery to it. Nothing more complicated than learning lines and putting on a costume.

When I can see things through the lens of the director, it's like being able to see the whole puzzle - it's not just about my role, but the whole script.

The problems I have with a flawed script are always revealed in the editing room.

There's something about somebody's first screenplay: it's like their whole life experience has kind of been bottled into it. They bring so much richness to it. And not that they won't do that for their next script, but there is something about their first experience and the time that it's been floating in their head.

I go with the flow of the film. I feel if it's the demand of the script, then you should do it.

'180' is a romantic film, but I don't think it can be classified as a fluffy love story. It is a wonderful story with a script that is layered and more complex than the normal ones.

'Flying Jatt' is a different and interesting script.