Quotes About Script

When I read the script and saw the jazz music setting, and when I read the name of the filmmaker was Damien Chazelle, I immediately got this mental image of Antoine Fuqua.

Finally, Colin Farrell showed up on my doorstep, only he wasn't Colin Farrell - he was just this Irish kid who had read the script and wanted to do it.

Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.

For me, I've always been one that reads a script and has been ready, wiling and able to go out and fight for parts.

My criteria has always been the script, director and character. But I also attach importance to the production house. After all, the banner has to go all out to present the film in a grand manner. I am ready to work with any house that is capable of marketing and packaging a film well.

I do sometimes wonder if people think, 'Oh we'll have her because she cries well.' The odd thing is I don't really know where it comes from. If the script is good, I find I can usually cry without too much trouble - in fact, the hard thing is trying to get me to stop. But I'm not really a crier in real life. I'm not a dramatic person, you see.

When I read both pilots for 'Breaking Bad' and the 'Michael J. Fox Show,' I turned to my husband in real life, and I'm like, 'That is an amazing script.'

Projection of sound gives the stage a life different from real life. As actors and interpretive artists, we must not only be able to know the attitude of the script, we must also make ourselves heard - without amplification.

I can tell very early on, reading a script, within six or seven pages, whether I'm looking at real people, and whether I can see and hear real people.

What people don't realise is that it is the script which plays the most important factor in making or breaking a chemistry.

When I was sent the script for 'Homeland,' I didn't think anything of it. Three months later, my manager rang and said: 'They are interested in you.' I read it and I realised, 'Yes, I do want this.' Then I got an email saying I'd got it.

When I got the script for 'The Art of Seduction,' I realised I'd never been in a comedy, so I decided to experiment. What the character went through could never happen in my own life.

I would love to do realistic films that are entertaining.

For making a good comedy film, you need a good writer whose craft can be understood through the time that he takes to write his script.

As an actor, my main focus is finding good writing and attacking a good role.

I would be happy to do 'Sarfarosh 2'. The script should be as good as the first one. I don't want to destroy the goodwill of the first one.

When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.

I often say 'I didn't write the script, but I'm learning to live it out with the best of my ability for the honor of God, with dignity, with grace, with favor, embracing His word.'

I had kind of written the script for my life, I thought. I had the great job, great wife and a boy and a girl and then here's this script that we're following and suddenly adoption comes into the picture. That was the huge unscripted moment in my life which led to many, many others.

You can have a great script, and it can be a great show, but for whatever reason, it just doesn't take the public's interest.

I never see how meaty my role is. If I like the script in its entirety, the director, or if my co-star is someone I greatly admire, I sign up. You learn so much being part of a great team.

For me, it depends only on the script, the part I'm doing, and the people around me. It could be in Greenland or the Sahara. I don't care.

I think it's a bad habit for an actor to change scripts because that's not your job. You're not a writer, necessarily - although there are some actors that are good at it.

Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with. And then my job is almost done, with a great script, obviously.