Quotes About Script

I just read the script; everything else just follows. Content is the most important thing for me.

Polanski is a great film director - although the much-acclaimed 'Chinatown' has a muddled script - but his true talent is to make fools of his friends.

Being asked to memorise a script in one day when you have dyslexia is the same as having a broken foot and being asked to dance. You have to make exceptions for it.

Well, I'm... first and foremost I'm a theater guy and everything that I know comes from the theater.

For any role, I pretty much always go to the script, first and foremost.

We shot in a place called Asheville, which is like beautiful, beautiful forests. And then part of it we shot all the reaping stuff, which was just crazy - because the reaping in the book and in the script is such an emotional thing for everyone. It really did feel like that when we were shooting it.

To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.

I like having the script before I start. With new plays, you're constantly developing as you're doing it. It's really frightening. You don't quite know how it's going to end up.

We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.

The funnier the material, the funnier I could make it.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

Once you've agreed the script, you must be willing to go as far as it needs to go on set.

Mr Tony Hopkins says he's willing to do it if he likes the script.

If in the script there is an argument about gun control, the most precious document you could produce at 'The West Wing' that week is a passionate, intelligent case against gun control. We know how to do the other one.

My experience on 'The West Wing' was, I think, now rare in that I was pretty young, and I walked into this environment where Aaron Sorkin was giving me a script every week, and Thomas Schlamme and John Wells were keeping the studio off my back, at least as best as they could.

Whether it's 'The West Wing' or anything else, my first thought is always, 'What's a good story?'

I always keep my script in the wings - a hangover from my rep days when we had no prompter and, if all else failed, I would make an excuse and rush off the stage to have a quick look.

Tone is so important because you can have a great script just be ruined with the wrong director - if they shtick it up or something. With 'Little Miss Sunshine,' I was so concerned they weren't going to play the pageant official realistically because you don't have to wink to play those kinds of characters.

There are so many people who come to me to be an actor, but I select only those people who I feel can fit my script. If they do, I immediately say yes. I don't do screen tests. I talk to them and see how their mind functions. I read their mind and cast them.

Acting doesn't bring anything to a text. On the contrary, it detracts from it.

A film is different than a script. The text of the script is what it is.

Ultimately, as an actor, it comes down to committing to the text in the script.

To me, the most important elements in a theatre are the actors and the texts.

How can you turn down Marks and Gran? Their scripts are so rich in texture.