Quotes About Script

I have always cited the decision by director Stephen Frears to shoot 'Mrs. Henderson Presents' before my script of 'The Queen' as the reason for my taking the plunge as a playwright.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

Quite often, I'll be sent a script for a movie. And I find that I like it, so I say I'll do it. But then they rewrite it for me. They make it quirky. Odd. I find that rather annoying. I call it Walkenising.

I got involved in script development from the beginning. It was nice to see how a film gets made right from the beginning. It was quite hands-on for me.

I'm not going to comment about potential jobs in the future because that's a rabbit hole to go down and get caught up in, but all I'll say is I'll go where the good scripts are.

In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.

I prepared the script of 'Pataas', when working for 'Kandireega'. When I approached Kalyan Ram with the script, he liked it and said that he will produce the film with a big hero.

I didn't want to play a rancher. I didn't want to have a cowboy hat on; I wanted to get away from that in the things I do. But I read the script and fell in love with it. As hard as I tried to say no, I couldn't.

In a fantasy show, you can't be random with creative ideas. So that is a drawback for our industry. Since it is daily, with fantasy shows, you need to stick to the script. If you don't, it will become saas-bahu show.

I apply the three gag rule, which is if I can read a script without gagging more than three times, then maybe I can say yes to this job.

I've been in a few films that have been adapted and, as an actor, the amount of resources and things you can gain just from reading the story, as well as the script, are so massive that it's something you just can't put down.

I did a film a few years ago where I gained a lot of weight for it. I was happy to do that because it was called for in the script.

It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.

A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.

I read a lot of scripts and so many are clearly a knockoff of one familiar genre or another.

People don't think of genres anymore. The script is all that matters. And as long as it appeals to my sensibilities as an actor-producer, I'm on.

I will do all genres. I will do intense roles, along with the kind of films that I have grown up watching, like 'Biwi No. 1' and 'Judwaa.' But I won't do films where, if you take me out of the script, nothing changes.

If I like a script, I will definitely pick films of different genres, but I won't do something just for the sake of it.

Now I'm 18, I'm about to turn 19 - I'll get a script for, like, a college frat boy type, and if I'd never gone to school, I wouldn't really have anything genuine to draw from.

When I get cast, I always flip to the end of the script to see if my character gets beaten up or killed.

The bad guy always gets the best scene and the best lines in the film, and they usually get the most days off.

I remember going to Bob Preston's dressing room because I was losing a laugh - as you do in a long run. He said, 'Give me the script. That's where you're going off the road.' That's comedy. It's never the line itself; it's in the foundation.

I am glad that I am in a position to select scripts I would be comfortable working in.

I do glamorous roles only when the script demands it and that too with limitations.