Quotes About Script

Life seems to ignore the script we have in our mind. And when that happens, we walk. We walk toward, or we walk away. Either way, we begin a journey—a pilgrimage to find or restore or forgive or heal, or to forget or bury—or perhaps just to have the deck of our world shuffled.

Coming from the theater, you know what your given circumstances are every night and who your character is. You're reenacting this one moment of their lives over and over, so you get really good at figuring out how to navigate it. TV was a huge adjustment for me because the script changes every episode, and you have a different set of circumstances.

But you're not necessarily ever going to be handed a script where you can say: it's all done and perfect.

All we did in Alabama was have a read through with the script, but there was, 'No, well, it needs more. You've got to do this, Albert. You've got to do that, Jessica.' It didn't feel like that at all.

I will admit I am a little bit of a line fudger. I will change the line a bit to make it feel better in my mouth. That is something they'll allow you to do on 'Veep' unless it's a particular joke where they're like, 'No, it just sounds better like this.' But with a lot of network shows, the script is law; you cannot change it all.

I was really proud to be in that show. I will never forget. I got the script to 'Millie,' and I'm flipping through the script and saying, 'Boy, I have some lines... I have a big song.' I was 25 years old and had never been on Broadway before. I got to the end of the script, and I was really nervous and excited. I realized I had a lot to do.

We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.

I'm a sort of boy next door. If that boy has a good scriptwriter.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

I am damn happy for Huma. I think 'Kaala' will be a game changer for her, it is one of the nicest script.

I do remember reading the script of 'The Nightmare Fair' and looking forward to doing it.

The creative process on 'Margaret' was incredibly satisfying. I loved the cast; I had a great time writing the script. I liked making the movie. Believe it or not, I actually like editing the movie. It was all the rest of it that was such a nightmare.

Ninety percent of a good performance of an actor is based on the material. If you've got the material there, you can ride it.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

There's no point daydreaming about what you want to play, because there might never be a script with that part in.

I have a reading problem and it's hard for me to read books. But I had no problem with the 'Emerald Forest' script.

She wanted to be given a funny script so that she could make it funnier.

While accepting the award for Best Director, Cameron quoted the most embarrassing line of dialogue from his own script: "I'm the king of the world!" Had this come from almost any other nineties figure, that would have seemed like self-deprecating irony. Coming from Cameron, it was not.

She recognizes the cramped handwriting, the internecine, slashing script. She has studied it under the gaze of the Institute Librarian, in locked rooms -- she even, in the early, giddy days of her conversion, practiced Fulton's handwriting for hours. Knows the ink. . . . Here it is now, on the familiar notebook paper Fulton preferred. She tracked down the manufacturer once; they have a plant across the river where they still turn out the Fontaine line.

I found Dolores Haze at the kitchen table, consuming a wedge of pie, with her eyes fixed on her script. They rose to meet mine with a kind of celestial vapidity.

Good acting is all in the writing. If it isn't on the page, then it really won't make any difference. You cannot act on force of personality alone.

My experience is that's rare - that you have a script that is... what they call 'film-ready.'

What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.