Quotes About Script

With screenplays, it's all about being as concise as possible. If you have a scene that's set in a bar, you just have to write, 'Interior: Bar.'

The absolute base-level thing that you do as a new screenwriter is send out query letters. Literally, you just say, 'Hi, Mr. So-and-So,' and you give them a one-sentence description of one of your scripts. You send it out to a list of people you found on the Internet.

I guess, as a director, you sort of take the script, and you find ways to interpret it.

To be successful, suspend your worries and your analytical thinking and just concentrate on reading the script as it is without any self-judgment.

I think belief in your script is essential. I am a salesman. I come from a long line of traveling salespeople on my mother's side. And I think I'm a good salesman of ideas, songs, melodies, if I believe in them.

I remember that when I got to NYU, everyone was writing scripts. But I was 18 at the time, and when you write a script, so much of it is about what you pull from life, and this sounds sort of cheesy, but I felt like I didn't have enough life experience at that point to write a movie.

'Sleepless' was a script that had been written by three or four other writers before me, and it never really worked, but it had this amazing ending on the top of the Empire State Building that just worked, no matter what came before it.

The part an actor played on stage was once written on a separate roll of paper.

It's funny: the reason I did 'Beautiful Creatures' was the same reason I did everything else - even though it was a genre film and existed at a more studio level, the script and the characters were so well written.

Bob Dylan's 'Blowin' In the Wind' was written into the script of 'Article 15.' It was the only song I wanted in my film. It encapsulates the spirit of exploration and salvation that my hero Ayushmann Khurrana goes through. I love the song's lyrics, especially 'How many roads must a man walk down before you call him a man? '

I like dialogue that is slightly more brittle than life. I have always admired and wished to write one of those 1940s film scripts where every line is written with a sharpness and economy that is frankly artificial.

When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.

In 'W,' I did not change a word in the script. I have never spoken this much in other series. I just stick to whatever is written. I always carry the script with me and read it before I sleep.

I don't work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.

The pleasure from acting comes from having great writing to work with. If it's well written and the character is interesting, then, as an actor, that's the raw material I need.

It would be great to read a script, which is an action script uniquely written so that it doesn't cost an arm or a leg because we are now accustomed to seeing action in the superhero form.

To have a part that is written for you certainly helps an actor.

I would prefer to work for directors who give me the script and written screenplay at the outset.

It's much harder to act poorly written material. It's much harder to memorize poorly written material.

I had written a script called 'Freed,' which I had wanted to direct.

Every script I've written and every series I've produced have expressed the things I most deeply believe.

I have never, for a single moment, been aware of pressure from anyone in television about how I dress, what my shape is or how I speak. I've always written my own scripts. I've always been the first to point out that I need to be fit. I need to look good.

When television gets in trouble is when it forgets that it all begins with the written word.

The script is so key to making a good movie. But everything is against you when you're making a movie: the logistics of putting a crew out where you need to go, whether the light is fading; if the weather's not right, something's wrong.