Quotes About Script

After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.

The movies are all about visual, and television is all about character and dialogue.

The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it's very much the agency's idea.

There are people who've told me cinema is a visual medium and you don't need to say so much. When I write the script, all these lines of what the characters are thinking are written. Once the film is shot and the lines are dubbed, I tone it down in postproduction if I feel it gets heavy.

I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.

First, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.

I think that as a director, especially when it comes to writing the script, which I also do, and I'm also the first one to visualize this story, I think contributing to the film industry means I'm able to take the best of a story and translate it well into a movie that can be released in theaters.

The first thing I do with any script is read it and try to visualize if I can play the character - if I can feel what the character's feeling.

I play characters, and I try to play them in a manner that's appropriate to the script. Physical movement and vitality of language is part of character.

I feel I do my best work when it's all there on the page, and I feel that the character is very vivid as I read the script and I'm not having to create stuff and trying to cobble together something. If I have to do that, then I don't entirely trust what I'm doing.

In the time between when you first read a script and are offered the role and the time when you begin to shoot, I really love putting in the time and work on that and getting a solid backstory to a character and researching all that I can about what that person does for a vocation or their upbringing or where they're from.

Normally, if I would read in a script that there's mostly flashbacks and mostly voiceover, I would run as far away as possible.

Voiceover stuff is always so fun. It's very easy to do.

I want to do good films, with good content. I am not selecting projects based on language.

The script for 'The Art of Self-Defense,' to be fair, I knew going into it that it was going to be a hard movie to get made.

A great script might come my way, and I could be in the middle of music. So, it's a huge choice that I have to make - if I'm going to go do a movie or if I'm going to turn it down - because it could be an opportunity that could send my career through the roof, and you never know.

They've got this house style which is writer driven. I heard of one person who sent his script in, and Karen Berger said there weren't enough words in it. Put some more in.

I had just done a movie called 'How to Beat the High Cost of Living,' and it didn't get a good review. And the same people sent me the script for 'Airplane!' for the Robert Hays part. I read it, and there were a lot of plays on words, and I said, 'I don't like this kind of comedy.'

They sent me the script, and I was dubious at first. I said, 'Lost in Space? They're reviving that? They tried to do that with the film, and it didn't work.' And then I read the script, and I actually liked it.

Worth' was a script that was sent to me, and I felt it was something different and important to do.

They sent us the script of 'Back to the Future III' and we wrote 'Doubleback' for it.

Even when I was writing the script for 'Don,' I suspected it could lead to a sequel.