Quotes About Script

If the opportunity came my way, if somebody wanted me to look over a script or sit in a room in sort of like a brainstorming session... I would certainly be open for that.

I was shocked when I first read the script of 'Vellai Pookal.'

When I'm shooting, I don't care who the star is. I have an actor playing a part, and I'm serving the script, not serving anyone's career.

Some of the best writing I've done, whether I'm shooting a story or thinking of a script, I write it in my head as I'm running. Running literally jogs my brain.

In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.

When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.

I would love to play a completely negative character if it's backed by a super script.

If you make a book which is little more than putting a television script on the page, and add a few pictures, that would be a bad thing. But I would never do that because I happen to be very interested in language, in writing.

All it really takes to fall in love with a script is to understand, right off the bat, one piece of the story.

I wish we were smart enough that, every time we had an idea for a script, that it was great right off the bat.

'Wake Up Sid' was a very special script. It was director Ayan Mukherjee's first film and it was beautifully written.

I've always believed, maybe naively, that 'The play's the thing.'

I don't do a film with which I myself won't be happy. More than believing in the script, it should be fun shooting it.

The direction in which the characters look determines the direction in which they should be read. This alternate or boustrophedon mode of writing also characterises early Greek inscriptions, and since it was not adopted by either Phœnicians, Egyptians, or Assyrians, the question arises whether the Greeks did not learn to write in such a fashion from neighbours who made use of the Hittite script.

We often deploy the clumsy ideas of nature and nurture to describe what is innate in us, and what is extrinsic. What this really means is: genetics (that is, what is encoded in DNA), and everything else in the universe. Your genome is a script, etched into the kernel at the center of your cells, but the film of your life is played out in the countless forces that determine how that script is performed. Nature was never versus nurture; it is and always was via.

I don't believe moviegoers don't have patience. Screenwriters are told a scene can't be longer than three minutes, that you have to cut to the chase. Not true!

It is so hard to be patient and wait for the right script to come your way.

There seems to be a pattern. I get one good script every two years.

Basically, the actor's job is to pay attention to the script.

On stage, you've got dialogue you've learned. You've got a paying audience. It couldn't be better, you know?

My acting teacher always told us the script should be crumpled up and covered in coffee stains and peanut butter smudges - you should have that bad boy on you at all times.

People say, 'Well, whose career do you follow? Where do you see your career going? What movie do you want to do next?' And I can't tell you what type of movie I would go and do next. I would have to read the script and feel for a character. And if I feel in my gut for a character, I know that that's somebody I have to play.

Sometimes if you do a multi-camera comedy, often there's rules, like, 'We've got to have three main laughs per page.'

The best script in the world doesn't work perfectly when you actually act it out. That's a law. That's a given. So you have to play with everything. And the more fun you have with it, the better the finished product.