Quotes About Script

Johns will give me a good critique of my work. Before starting my film 'Shutter' I gave the script to Johns for his opinion.

It was Ranjith who inspired me to be a film maker. And ever since I began the shoot, he is keeping a track of the progress. In fact, he knows the script of 'Shutter' better than me.

You fight for your character in the script. It's part of our job to evolve them, show all sides of them.

Improv definitely made me a better auditioner, without a doubt. We did do an audition semester in grad school, and that was helpful for those times that you have a script and you have a few days to prepare it, to really work on sides. But the auditions I was doing in New York, if you got it the night before, you were very lucky.

I'd say there's more of a difference between a play and movie to TV than there is between TV and movies. But there's something involved in the repetition of things that require something different from me in order to sign onto a script.

I ideally would like to do three films every year. Every day, I pray for it. But I should like a script before I sign on a film.

I enjoyed all my films equally. I have loved working in all the movies which I signed. Whenever I used to like the script and the director only then I would say yes for the movie otherwise it was a complete no.

My first film would have been 'Rough,' and it got delayed. 'Venkatadri Express' released first and became a big success. I signed 'Venkatadri' after 15 days of shooting for 'Rough'. I had lot of faith in the script, and I feel luck plays a major part.

I had watched 'What Lies Beneath' long before I signed 'Raaz.' It was similar in terms of the story premise and the infidelity part. But I didn't have to go and watch the other film. Once I read the script I wanted to bring my own perspective. I didn't want to copy from a Hollywood film.

I never really do much research before signing a film. It is just the script and character that I concentrate on.

I find that the projects I enjoy signing up to at the moment are with a director who's interested in the script - isn't completely sure what the movie is and isn't concerned about it. He's just interested in going on the journey and discovering it.

I go by the script and the director. Decisions about signing on the dotted line are mine. Of course, mom and dad listen to the scripts but I think I'm a better judge.

In 'Silence,' there was no improvisation at all; really, you're dealing with a script and a 17th century way of speaking.

If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.

I was sent the script for 'Silver Linings' when I was doing a play in D.C. at The Kennedy Center with Cate Blanchett and I was sent the script and asked if I was interested, and I said 'Oh, boy am I!'

So it was just funny to read a script that was just similar to what had been going on in my life.

I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.

You can trust a Neil Simon script. Every dot. Every dash; that pause means something. He takes all the jokes out, practically.

The 'My Mother the Car' script read like Neil Simon compared to the 'Gilligan's Island' script.

The simplicity I felt hearing the script of 'Panchayat' was so good. I came back home with such a happy feeling, I wanted to work on the show immediately.

Sometimes I want to do something that's really funny and other times I read an indie script that is going to be made for nothing but I want to do it because I think that I can connect with something in the story.

I do not differentiate between a commercial and an indie project as long as there is a strong subject and the character in the script is relatable.

Any time that we read a script and the 'Leverage' team has to infiltrate a place, assume identities, or become con artists ourselves to take down the really bad con artists, it's always fun to do that.

House was the first film where I had no influence on the script. I had to buy the script with the game rights.