Quotes About Script

There's nothing more important in making movies than the screenplay.

Everytime I read a script now, I am able to imagine my character in multiple ways, which I present to the director or the writer, and we take it on from there.

I go deep into the script and speak the language of the film, musically.

My number one passion is acting, but I also think there's something so special in being able to support a script and an idea and take it all the way through to fruition. I think that process is so rewarding.

Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.

Mystery Road' hadn't been shown in Scandinavia but I read the script and I just had to do it.

It's been a lot of fun from script to script to get inside the mythology of 'Grimm.' We've been given a lot of freedom to explore the mythology as well as the backstories and interpersonal connections of the characters.

I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.

I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.

What matters to me as a creative artist is the credibility of the production house, the honesty in the script, and the way the filmmaker has conceived the characters in the narrative.

Doesn't every other field do that, when you have to make decisions with imperfect information in a probabilistic world? I don't think baseball's immune to that. So that's it: we're not trying to script it, we don't think they're robots. We've noticed that they're human beings and they have emotions.

Yesterday a very interesting, beautifully photografed english picture about a nun convent in India, "Black Narcissus," with Deborah Kerr who is quite lovely. They are away ahead of Hollywood, better ideas, better scripts, better color, and much better acting. Kurt Weill, London, May 8, 1947

The theater of the End is triangular, and in the eyes of apocalyptic believers on all three sides, the great drama has begun. The sound system is hope and fear; each time an actor speaks, his words reverberate wildly. Three scripts are being performed.

Extraordinary what the body remembers. The bones loded with love, grief silting the arteries, fear the bowels' recurring mould. Who would have thought mere flesh and blood could hold so much of psyche's ghostly script?

Extraordinary what the body remembers. The bones loded with love, grief silting the arteries, fear the bowels' recurring mould. Who would have thought mere flesh and blood could hold so much of psyche's ghostly script?)

The writing system at the opposite extreme took the longest to emerge: the alphabet, one symbol for one minimal sound. The alphabet is the most reductive, the most subversive of all scripts. In all the languages of earth there is only one word for alphabet (alfabet, alfabeto, ). The alphabet was invented only once.

The offers I get are for grandfathers, uncles - and they often die very quickly in the script.

They sent me the script, asking me to play the part of a general. I have never played the part of an authority figure. I've never thought of myself that way. I was uncomfortable with it, but I worked at it and knew I had a guttural voice for a general.

It's all about the script. I don't want to do something which makes me feel uncomfortable. It should suit my image and age.

We write and write and write until we think, 'If we have to shoot this script, we'll be happy, and it's going to be a great movie.' I meet with all the actors two weeks before, and I ask them, 'What lines don't work? What is uncomfortable for you? What jokes do you think aren't good? If you're not getting it, here's what the joke is.' You fix it.

While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht.

With these scripts and these writers, so much of it is done for me. Because we don't just throw words around: we make sure the audience understands.

I write all my scripts with Salman in mind. He understands me perfectly on the sets.

When I was working on 'Deadwood', it was understood that the script was a work in progress, and when we got to set, everyone would kind of work on it together.