Quotes About Script

I'm kind of down for anything, as long as it's an amazing script that speaks to me, so I'm just constantly reading and constantly looking.

When the children were little, I'd fly into L.A. for a specific work project, but then I'd leave again, and when I was home, I wouldn't even read a script.

I've been fired from a situational comedy with a script they wrote specifically for me because of my voice.

The only time you actually are a spectator of your own work is the day you read the script.

Once you start getting big roles as an actor, everything pays. So what are you making decisions on? It's about the director or the script or whatever. But before you reach that point, you're taking jobs with, say, a theater company, in spite of the fact that it's not paying your bills.

I am a commercial hero, and I will never leave that genre. And having an image of a mass hero, I will spoil the whole script in the wake of being too experimental.

I've been spoiled by this project. I was given the script and went in to read, realizing that this was a powerful story and one that wasn't told very often.

I took the role because it's rare to read a script that makes me laugh and cry, and it spoke to my own religious feelings, as well as giving me a chance to draw on my experience as a parent. Accepting it was a no-brainer.

I've read a lot of scripts and I'm really luck to be able to play a woman who's funny and can be charming and has a mischievous side to her as well. I'm really lucky.

Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck.

Like ultraviolet rays memory shows to each man in the book of life a script that invisibly and prophetically glosses the text.

And I tell ya, when I sit in that sound booth and started reading the script and starting to get into the character, man, it's an easy jump for me, because I understand what it's all about.

What are letters?" "Kinda like mediaglyphics except they're all black, and they're tiny, they don't move, they're old and boring and really hard to read. But you can use 'em to make short words for long words.

We change the script a little," Madame Ping said, "to allow for cultural differences. But the story never changes. There are many people and many tribes, but only so many stories.

If you want guarantees in life, then you don't want life. You want rehearsals for a script that's already been written. Life by its nature cannot have guarantees, or its whole purpose is thwarted.

The 1789 Revolution had given the French a political script of unequalled drama. For the better part of the following century the temptation to reenact the play was irresistible.

Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.

Sometimes I'd like to play the bad guy and sometimes I'd like to die in a movie.

There are a lot of roles in Shakespeare, basically. If I feel that the script is a movie, I would be interested in doing any role of Shakespeare's.

If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.

You can't, no matter what anyone says, build a movie around someone.

With most other genres, you need movie stars. With horror, you just need a story.

You need to learn that, unless your lead character is written in a way that one of the 20 movie stars want to play him, your movie will not get made.