Quotes About Script

With proper acting, I don't know what I would play - I got sent a script for a play, and it said in the notes that my proposed character was 'hideously fat and ugly'. That made my day. I mean, I do know I am no oil painting.

I couldn't tell you a good, bad or ugly pilot just from reading it, but I can tell you a character I want to play.

When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.

My family believes in a good script and ultimately everything that is attached to it. I am more interested in a hit film than a good film.

As much as I thought the end of 'Friday Night Lights' was a really great ending, I was one of those people who wanted to make it into a movie. Even though it ultimately didn't work to do that movie, I did work with some of the other writers and by myself writing a script for that.

I feel very blessed in my career to have been able to bounce back and forth between different things, television and film, comedies and some dramas, but I am, um, as long as the script inspires me and there good people, that's it. I'm in.

Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.

Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.

I'm doing another Churchill. I did a Churchill for HBO and that was up to 1939 and there's talk of the war years. They were going to do it this fall, but the script wasn't going to be ready.

'War on Everyone, ' I think... the script was hilarious to me, but it's very dark, dark humor. It's super dark.

they should write their brains out. If they get a deal, they should write the assignment, then take time off to write something on spec, then write an assignment, then write on spec. You have a lot more control over a spec script that becomes a hot script. It can put you on the A list faster than waiting four years to get something developed.

O'Kelly's disregard for cliche is so sweeping that it almost has its own panache. I find this entertaining or irritating or mildly comforting, depending on my mood, but at least it makes it very easy to prepare your script in advance.

When therapy was successful, two kinds of changes showed up in person after person: the schemas' grip on their lives loosened, and the script changed for the better its typical outcome.

The real achievement of the script and the people making it is that they throw the kitchen sink at us... and it all works. Daleks, Anne Robinson, the end of a complicated storyline, tears, jokes, action, more Daleks, romance, pathos, satire, an outrageous cheat and more Daleks than we have ever seen even in drawings we did as eight year olds. And then David Tennant shows up, and we realise we ain't seen nothing yet.

I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.

When I read the script of 'Karu,' there was a spark within, and I instantly connected with the story. I was emotionally attached to the story. After we finished shooting, I was so attached to the kid who played my daughter, I wanted to adopt her. That's how strong my emotional attachment was with the role and the story.

Usually, I end up looking for something completely different to who I last played. But there is just a spark that's lit when I read a script or character I want to play.

'Sparkle' fell into my lap. I had heard a little bit about it, that it was being redone in early 2011. I was just kind of like, 'Oh, that would be really cool,' and not really thinking too much about it, and then it came through my agency. I read it, I fell in love with the script and I went in to audition.

To choose to be silent in any scene sometimes has more notes in my script than when you chose to speak.

Frankly speaking, it's only the script that matters to me the most. If I like the script, then I just commit to myself and go ahead with it. But I also look at the commitment and confidence of the director of the film because it's him who will shape the film.

Generally speaking, actors are allowed NO input. Actors are dumb.

'Quick Change' was my first real movie. It was an interesting audition process because there were no lines in the script. Bill Murray's character would say something, and Geena Davis and Randy Quaid would say something, and then it would just say, 'The cabbie speaks.' How do you audition for that?

Movie dialogue is movie dialogue. It can sound real, but no one speaks that way.

With some writers, the script looks beautiful on the page, but nobody actually speaks like that.