Quotes About Script

The script was always the most important thing to me and I loved the script. For one thing, I've always admired trees. I just worship them. Think what trees have witnessed, what history, such as living through the Civil War, yet they still survive.

Ah, 'Kismet,' or Carry On Camel, as we called it. I thought the show was shocking. It was the worst designed production ever but it's got a fantastic score. It's not an awfully good book though. You really have to work hard to eke out any laughs from that script.

I think that's a great opportunity, to pick a script where you can build up a good skill. I think the main thing I look for when I look at scripts is if it's inspirational. If it's something that teenagers can relate to. And is it something that the audience is going to get something out of. If not, then it's really not worth doing.

I would love to sign on to do a movie if it was the right role and if it was the right script, because I would be taking time away from music to tell a big grand story, and spend all of my time and pouring all of my emotions into being someone else. So for me to do that, it would have to be a story worth telling.

A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.

I'm a huge Emile Zola fan, and when Bill Gallagher said he was writing a new character for 'The Paradise' and had me in mind for the role, I knew I wanted to play Tom Weston before I'd even read a word of the script.

My take on 'Lucifer' was pretty much laid down by Tom Kapinos when he wrote the original pilot script for it. I remember reading it for the first time, and I was about four or five pages in, thinking this is so funny, and I know how I would want to do this if I was going to do it.

In a perfect world, my tennis game gets better. I have kids and a beautiful wife and live on some hill somewhere that's not in Los Angeles. And the script that Tom Hanks just barely turned down gets in my hands.

I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.

We like to create an atmosphere where people can try whatever they want and experiment. But ultimately people tend to fall on the script and there isn't a ton of improvisation. There certainly are some improvised moments and we encourage that. If it's better than what we wrote it'll be in the movie and if not, it's out.

With comedy especially, it feels like such a clear-cut thing to be a writer-director. There is so much nuance and tone in a comedy that it's hard to contextualise it in a script.

Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.

'Unforgiven' is probably an example of a script that I liked right away but thought, 'This is great, but I'd like to do this when I'm older.' So I stuck it in the drawer for ten years and then took it out.

When I read the 'Country Strong' script, I thought, 'Can't they just hand-double it? Can't I just do the rest of the movie and not have to do the performing?' It took me six months to learn to sing and play guitar at the same time.

You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there's something about cooking - food being prepared is incredibly captivating. It became just a fun box of tools to use as a director.

Acting is about portraying something... that dedication or learning the script of it is really important in really getting to know a topic.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.

God wrote the script of your life before the doctor had the chance to slap your glutes (see Ps. 139:15-16).

So often, I read scripts and am like, 'This would never happen in real life. It's not trying to be funny. It's trying to be serious.'

I don't spend a lot of time judging anyone I play. Even if their function in the script is to be the villain, I concentrate on what their perspective of the events is. Not even to justify them.

That's the first time I've been involved in such a big way as a voice actor and this script [Voltron] is very matter of factly.

Luckily the script [of X-files episode] was written wonderfully and that became who I was and I was quirky, and I was kind of agitated and not entirely happy, but at the same time, witty.

When you first start out as an actor, you're just looking for a good part. As time goes on, if you're being held responsible for the movies themselves, you're looking for a good script all around.