Quotes About Script

Whenever I get any of the 'Game of Thrones' scripts, it's always like, 'oh my God, how am I going to do this?' It's a sort of performance anxiety about being able to do a good job.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.

Well, PT Anderson sent me a script of Boogie Nights which I let lay around my house for about three months, then one day I'm cleaning my office and decided that I'd better read this before the guy calls me back. I never put it down, bro.

I think it's still kind of weird to memorize a line, because you're supposed to 'be' this person, you know? So then its like, if I'm really this person, how can I be in the moment if I know there's just one line I'm supposed to say? It doesn't feel natural. I always just kind of want to say whatever comes up.

Usually if you read a screenplay, no matter who's writing it, the bad guy is always written as a one-dimensional bad guy.

When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.

If the script is boring when I read it, I am sure it would be boring onscreen, too.

When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel.

I keep an open mind when a script is narrated to me.

I opened the script to the 'The Wall,' and 15 minutes later I was done with it, and I loved the movie and wanted to be part of it.

All this flying around got on my nerves. But then I gave the script to Cathy to get her opinion. When she started to laugh, it was like 'That's it!'. I went to LA and I got the part.

The world is a stage, but the play is badly written.

This careful script, of which he had composed both speaking parts, floated away into the milky sky. For the Countess had been unexpectedly transformed into a malevolent harpy. He fiddled with the fingertips of his black gloves. Sophie grabbed his sleeve, utterly beside herself. The flood of love and trust poured out in the offending letter was clearly undergoing a rapid and dramatic revolution. Now she was screaming, both at Max and the absent Sibyl.

The well-known Latin phrase—meaning "praise God"—was inscribed on the tip of the Washington Monument in script letters only one inch tall. On full display . . . and yet invisible to all. Laus

The nice thing about doing a weekly record is you're rehearsing all week and working on getting the script better. Come Friday, when it's time to actually film it, you feel like you've done most of the work!

I would not have so many scripts being driven by demographics. The play's the thing - not the 18-35 year old male age group.

I was very happy sitting alone at a dining room table, writing a script.

me in. A thickset man, 40s, swarthy, unshaven, in a loose v-neck t-shirt and carefully distressed and torn jeans came round from behind a desk piled high with scripts and shook my hand.

Here's our three-part recipe to create more moments of elevation: (1) Boost the sensory appeal; (2) Raise the stakes; (3) Break the script. Usually elevated moments have 2 or 3 of those traits.

The old pattern is powerful, so make sure to script the critical moves, because ambiguity is the enemy.

Don't obsess about the failures. Instead, investigate and clone the successes. Next, give direction to the Rider—both a start and a finish. Send him a destination postcard ("You'll be a third grader soon!"), and script his critical moves ("Buy 1% milk").

Moments that break the script are critical for organizational change. They provide a demarcation point between the "old way" and the "new way.

To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting

Not every meeting needs to be a "defining moment." But once every 5 to 10 meetings, find a way to break the script.