Quotes About Script

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

I guess I'm used to TV where we don't really rehearse. You block it out, and then you just start shooting.

Many other directors, they have lots of scripts and they never rehearse as much, and you never really have time to be a part of it. With Jean-Luc, you always had time to be a part of it. It's difficult to explain to normal people.

If producers want to lure the few TV holdouts left, all they have to do is give them a good script and a guarantee of enough time to rehearse. They'd be surprised how fast those hard-to-gets would grab at the bait!

Because I used to go and watch him rehearsing for pantomime, and I have adopted some of those priciples, like try to be on time, learn your script, how he approach it, etc.

Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.

If you read the script, and the character's got something in it that you relate to, then I am keen. But I really think, a lot of the time, my successful auditions are those where I really care about the characters.

If I'm reading a script, and I'm not buying it, I need to be able to relate to the character on some level, and they need to have more than one dimension. I need to have an idea of what this guy's thinking about when he's taking a shower not on camera. And if I can't picture him taking a shower and getting dressed, then he's not a real person.

I was in rehearsal and reading the script and I was like, 'Wait, wait, wait, wait. I think I'm related to Data,' which was crazy but that was really cool. Going back to watch' Next Generation' and getting to see Brent doing his thing and just how incredible he was and it was obvious to see why he was such a beloved character.

As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.

I'm a character and relationship guy, and even with the 'Saw' films, it's special-effects people's jobs to create these scary things. It's not my job. My job is to bring some sense of humanity to the character, no matter how evil he may be. The script is going to take me there.

I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

There were times when I thought I had to be completely off-book and ready to give my opening night performance at the audition, but then I swung back to a more relaxed view of it. Certainly you've looked at the material and prepared it, but there's no reason to be off-book. You're not getting points for being off-book.

Bob Hurwitz, the president of Nonesuch, the company that releases my records, is a mentor. He taught me how to assemble a script to record an album.

Yes, TV is the dominant medium in Pakistan, but it was a conscious decision to have an Indian film as my first release. Being launched in an Indian film with a great script, character, and music is half the battle won. The rest is destiny.

Instead of letting anxiety run you, try voicing it. Voice it in your comedy. Voice it in a script. Just voice it, and it'll help you release it.

In 1990 there were about 300 scripts being written demanding the release of Nelson Mandela. And suddenly we watched Mandela walking out of prison. So those scripts had to be destroyed.

I wanted to do 'Kanchana' in Hindi but many heroes I approached were hesitant to act with the saree and also demanded that the climax song be removed completely. I wrote the script with such passion that I could not agree for any compromise.

You can reveal yourself on stage in a way that you can't on TV. If you drop a character on TV, it's death. Each character has to be ruthlessly, faultlessly played. But live, you can hint at what's going on behind. You can let the audience in a bit and go off the script.

I think everything that I've done, I've been involved with for longer. Either you develop it from scratch, or you take something, and you develop it, and you work on the script, but I'm not sure how good I'd be at just sort of taking a piece of material and being a director for hire like that.

I research the role, and if it's a literary character, I read the book, and if it's an historical figure, I research documents and biographies. If it's a fictional character, I work off the script.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

When I got my role on 'Seinfeld,' the show was already huge. I was so nervous on my first day. I remember meeting everyone and holding my script and just shaking.