Quotes About Script

For me, it's always the script. The script which gives me the chance to do something new; that has been my prime objective ever since I started acting. There's nothing else that excites me more than that.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

I knew from the first episode that 'Longmire' was something special - I met the writers/exec producers, read the script, and knew it was special, so to have the network and the studio and the fans get behind it in the way that they have has been really amazing.

We start 'The Butler' in June and that's incredibly exciting for me because I get to work with the amazing Forest Whitaker again. It's a phenomenal script and a great, great role - I play his son. Oprah Winfrey is his wife and my mother. My character is a radical civil rights activist.

With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others.

'EastEnders' keeps me so busy - that is where I'm at and I can't see that changing too soon. There's nothing that has quite got the punch of an 'EastEnders' script.

Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not.

It's not about the script: it's about who the director is and who the other people in the cast are. Because you can look at a great script and execute it in a very sophomoric way, and you can look at an OK script, and you can execute it in a very sophisticated way and come out with something really good.

I think some people get confused between development and pre-production. In pre-production, you know all your dates.You know when you're aiming to release the film. You've got your script. You've got everything sorted.

Almost every script that I've gotten has been for sort of the generic Hollywood type. I haven't chosen them. All the ones I have chosen are because I've been fascinated with the source material or because of the script.

As far as I am getting interesting projects to work in, it doesn't matter whether it's Bollywood, South or Gujarati. The script is the hero for me.

If you get a bad script, then you start expending energy trying to make a silk purse of a sow's ear. When the script's as good as those on 'Game of Thrones,' say, I don't think there was a single occasion where any of us thought there was a bad scene.

The mystery of film is not in the script. It's in the shooting, in the interacting of humans and space and time.

History is opaque. You see what comes out, not the script that produces events, the generator of history.

History is opaque. You see what comes out, not the script that produces events, the generator of history. There is a fundamental incompleteness in your grasp of such events, since you do not see what's inside the box, how the mechanisms work.

You first do the assembly cut, which is basically the cut that mirrors the script. You've got to start with that.

I don't really belong to that world and I don't think anyone's going to miss me. I'm much happier just to write myself out of the script entirely.

When I first read the script to 'Black Hawk Down,' I didn't think it was the greatest thing in the world - far from it. But I thought the script at least raised some very important questions that are missing from the final product.

Ilaignan,' the script of which has been penned by Chief Minister M Karunanidhi, is a period film that is set in the romantic era of classical music. You will find Western classical music mixed with our Indian melodies.

If I was on a 'Modern Family' kind of show, and they said, 'You have to say that the burger is $5.55; Have a good day!'... I could do that!

But my family's really close and I was interested in what Mommy and Daddy did for a living. So when Mommy and Daddy had a script that wasn't totally age inappropriate, they would let me read it. And we would talk about it.

My agents usually get a breakdown of all the projects that are out there. When I got 'Divergent,' they hadn't finished the script. They knew they wanted the leader of the Dauntless to have a certain demeanor and energy. They had me read a short monologue, and I got the part.

If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

During script narrations, if I feel the screenplay mood jumping abruptly, I tell the director, and they work on it.