Quotes About Script

I read that John Hughes script for 'Mr. Mom,' and I thought, 'This guy is a funny writer.' I went: 'You ought to stick around and direct this thing.' But he didn't; he left, and look what he became. A really legendary comedy director.

I only sound intelligent when there's a good script writer around.

Whether you believe it or not, you have to understand the politics. In every script, there is a political bend that the writer has included. Whether you like it or not, is on you. But it's very important to know that politics.

The truth is, a director wins an Oscar for a writer's script and actors' performances.

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.

I wasn't involved, except to the degree that they sent me drafts of the script as the writer turned them in. They asked me at one point to write a memo about what I thought of it.

With 'Suffragette,' I felt that a female writer would be good, and considering the subject matter, who would be better to write the script than Abi Morgan? She was the first choice, and she happens to be a woman.

Together with script writers Sid Green and Dick Hills, we worked on the comedy ideas for this series.

My writers on 'Liv And Maddie' have started a running joke to try and sneak as many 'literally's into the script as they can to throw me.

There are dialogue writers for a movie, there is a script to be followed... whatever my character says is not a reflection on my personal opinion or principles in life.

You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.

I learn the lines that JK Rowling or whoever writes them, and say them.

When I'm the one who sits down and looks at the blank page and writes it out all the way, then I'll call it my script.

Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

Usually when I write a script, I have in mind some real people that I'm writing about, who don't always act in the film afterward.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

Now I'm doing a film festival for kids and writing a script about a kidnapped journalist in Afghanistan.

That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.

As an actor, you work to the script: that's our main priority. But you have to be aware and look around for things that help you bring that little bit extra, that touch of realism that rams the point home.

I'm so touched that complete strangers will send me a script asking me to be in their film. That still amazes me - and sometimes for a lot of money too.

For me, the first thing is script. When I heard 'Mom''s script, it really touched me and moved me. I felt really nice about the story. That's the reason I did the movie.