Quotes About Script

I stayed well clear of roles like 'Top Boy' for years before I did it, but I had to do it because the script was amazing. It was the most authentic thing that I've ever read when it comes to that sort of life.

Working on an adaptation is not as satisfying, because it's not your original work: you're interpreting. With 'L.A. Confidential,' I loved the book. In that case, I felt I was guardian of the work, staying as true to the novel as I could. I've since met the novelist, and he loves the movie and the script.

Stephen King is one of my all-time heroes, so, of course, the pressure never lets up. Every second, you hope he'll like it. I remember getting a call from him after he read my script for 'Hearts in Atlantis.' He liked it. Talk about relief.

I sometimes think that the In campaign appears to be operating to a script written by George R.R. Martin and Stephen King - Brexit would mean a combination of 'A Feast for Crows' and 'Misery.'

That's all TV acting is. Like, let me find my mark and seem like I'm still acting. Sometimes they'll put sandbags there, but then it's even funnier because you're walking and you're, like, stepping into sandbags, so now you look like you're having a seizure.

I wouldn't know a good script if it bit me in the face.

Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.

When I mention that I'm a game designer as well as a writer, someone will nod and say, 'Ah, that's what we like about your script. The videogame feel.'

'Groundhog Day' was one of the greatest scripts ever written. It didn't even get nominated for an Academy Award.

Normally, when you do a movie, you have those mundane days when it's like, 'Today is the scene where I get coffee.'

Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.

In the work that I normally do, you have a whole script, a whole arc, that you play. And I do believe a good actor will play every bit of information they're given.

I handwrite out all my lines. I like to see my handwriting, and I like to keep my notes over time.

When I give notes on a script, I say, 'Guys, I may drift, but it's part of the process.' So I'm aware that I'm drifting, but I'm grabbing a lot of stuff.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

If you'll notice, we don't have any real out and out jokes on 'Hogan.' Basically the program is drama.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

Our lives are just our genes and our upbringing. We simply act out the script that was forced upon us.

That's what the movies do. They don't entertain us, they don't send the message: 'We care.' They give us lines to say, they assign us parts: John Wayne, Theda Bara, Shirley Temple, take your pick.

Human society first formed itself with the aid of oral speech, becoming literate very late in its history, and at first only in certain groups. Homo sapiens has been in existence for between 30,000 and 50,000 years. The earliest script dates from only 6000 years ago.

My manager got the script for 'Under the Dome,' and I read it and just fell in love with the character. I grew up on Stephen King, and I love his whole aesthetic of the classic American story with supernatural events happening, so it just made sense.

I hate when a director says to me 'Here's how I envision this scene'...excuse me? It's right here in the script - I 'envisioned' it FOR you. Do what I wrote. If you want to 'envision', you should become a writer. Where the fuck were you when the page was blank?

I put down the phone and finished lighting the cigarette. The blue cover of the script caught my eye. I picked up the telephone again. I gave the operator Tony Moroni's home number