Quotes About Script

I liked to carry the script into an audition because, for me, it reminded people that this was not the final performance. I'm still a work in progress.

'The State' had never done improv. We used to go over scripts for weeks and argue about every joke. But I don't know how we would have scripted 'Reno.'

If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.

I was concerned about doing a sequel and repeating myself. That was before I read the script.

These days scripts aren't that repetitive and so the roles are getting more and more challenging.

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

A script arrived, and on the front cover - scrawled really big, as if it were a book report - is 'Django Unchained, written by Quentin Tarantino.' And I thought, 'Well, no art department came up with this; this is Quentin's writing.'

Axone', of course, was on racism, but it was also a kind of representation that hadn't happened ever before of the Northeast and the people from there. It was a nicely-written script; it was funny.

I feel character description from a book can mislead you and actually make you fall off course when you're representing a character using a script.

When I read a script I either immediately identify with the character or I don't. If I find myself reading the part in my own voice I think 'This is a bit of a drag, isn't it?' and it's no good.

The super success of '3 Idiots' has taught us that cost of making a film is not important at all; it's all about things going well at the script level.

I know that I wouldn't mind going back to work if I could find the right script and the right crew to work with.

If I could have written a script of how I wanted my career to be, I couldn't have done it any better.

I believe that a good comic script can succeed despite being drawn badly, but that a bad script can't be saved by good art. Of course, great writing and great illustration makes for a great comic 100 percent of the time.

You cannot base a whole movie on just the imagery alone. It has to be the story and the characters.

I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.

White Lines' is without a doubt one of the best, most imaginative, brilliantly bonkers scripts I've ever had a chance to work on.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

I read a script and I know immediately whether that role is for me or not.

Sometimes you read a script, and it's like, 'You'll improv, and this is just a blueprint of what the scene could be,' and that's never a good sign. And it's never encouraging as an actor to take that on, really.

Improv is such a huge part of my background, and a huge part of character discovery is really being inside the character and trying to think through them without the limitations of the script.

It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works as well. It takes a director who is open to that because you have a script, but then something funny could happen on set.

I think with a lot of comics, their gift is improv. They don't have a script. They'll have a couple of good ideas they start with, and go from there. And it's the same in wrestling.

With any mannerisms or dialogue, you have to be careful you're not just serving yourself. What happens with improving is a lot of times, if you're not in the framework of the script, you're just making everything easier so it fits you.