Quotes About Script

Whether it's TV shows or the films that I've done, it's always a priority for me that the entire script should be good.

I think 'The Big Bang Theory' is one of the greatest written TV shows of all time.

I know firsthand how much work has usually gone into a screenplay, so if there's something that rings false or a line that I would think would need a tweak or something, I will think long and hard before I even recommend changing it. In that sense, I'm very faithful to the scripts that I get - if they're good scripts.

The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.

It's eighty percent script and twenty percent you get great actors. There's nothing else to it.

Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.

I've sold shows based on my standup twice to CBS, but they've never gone past the script stage. TV is very competitive.

As for the best '80s action movie, I'm going to be predictable here and say 'Die Hard.' I watch that movie at least twice a year. Perfect script.

If a good visionary wants to jump on board with that and I see their vision correctly and I like it and I like the script, I would absolutely do it but I have to read the script first.

What made me want to be on it was reading a really good script, and being compelled by and attracted to the characters. I really loved Maura Isles, who was very fascinating to me.

I think the most important thing is to, without belligerence, stand up for what want. Argue compellingly if someone tries to change your script.

I read every script from beginning to end, and I read every draft that I can. I like the show, I like the character, and I want to protect both of those things.

There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.

When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'

My easiest judgment for a script is 'do I want to keep reading it?'

When you're shooting 20-odd episodes in a season, the last thing you want is for each script to be the same tone.

Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor.

You create a little world when you are making a film and you have to feel that you would want to be a part of that world. I sometimes look at the scripts I get and think 'what are they thinking?'

If I'm not afraid when I'm reading a script, that means I know I've done it before. If I read something and think, Wow, I can't play this part, then I want to play it more.

On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.

I think there's so many little specific things in the script [of "I Don't Feel at Home in This World Anymore"]. And the script was also structured so beautifully that I didn't want to mess with it.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

Twitter is so short, it's safe. I don't want my bosses to be like, 'Hey, your script is due and we saw you wrote four blog pages.'

You tend to get a script and you push it toward being the kind of film you want to make.