Quotes About Script

You have to back up your destination postcard with a good behavioral script. That's a recipe for success. What you don't need to do is anticipate every turn in the road between today and the destination. It's not that plotting the whole journey is undesirable; it's that it's impossible.

The Rider has to be jarred out of introspection, out of analysis. He needs a script that explains how to act, and that's why the successes we've seen have involved such crisp direction.

Any successful change requires a translation of ambiguous goals into concrete behaviors. In short, to make a switch, you need to script the critical moves.

Ambiguity is the enemy. Any successful change requires a translation of ambiguous goals into concrete behaviors. In short, to make a switch, you need to script the critical moves.

Through her ingenuity she invented a shorthand Greek script in which a long written narrative could be transcribed with far fewer letters, and which is still used by the Greeks today, a fine invention whose discovery demanded great sublety. She [Minerva/Pallas (Athena)] invented numbers and a means of quickly counting and adding sums.

She [Isis] invented a form of shorthand which she taught to the Egyptians and provided them a way to abridge their excessively involved script.

The writing, in huge insular majuscule script, is flawless in its regularity and utter control. One can only marvel at the penmanship. It is calligraphic and as exact as printing, and yet it flows and shapes itself into the space available. It sometimes swells and seems to take breath at the ends of lines. The decoration is more extensive and more overwhelming than one could possibly imagine. Virtually every line is embellished with color or ornament.

You can trust a Neil Simon script. Every dot. Every dash that pause means something. He takes all the jokes out, practically.

Ellery me ha subido a 250 dólares por guión; si la cosa se mantiene hasta junio, podré ir yo a Inglaterra y explorar yo misma mi librería. Si me veo con valor para hacerlo, claro. Vengo escribiéndoles cartas de lo más descaradas desde la seguridad que me dan los 5.000 kilómetros que hay por medio. Probablemente entraré un día en esa tienda y saldré de ella al cabo de un rato sin decirles quién soy.

He wondered where this feeling was coming from, that he was improvising his part in a play that everybody else had a script for.

I found Hollywood pretty bruising and uncreative. The executives are all in thrall to the boss, and spend their times double-guessing him or her, and trying to remember what he/she said and then applying them to the script, whether it was useful or not. They're all in fear for their jobs.

I mean, the first 'Back to the Future' is kind of a perfect script, I think, in terms of handling time travel the best. It depends on your definition. To me, that means it effectively uses it in the story.

The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.

I have never seen a script that hasn't gone through at least eight different iterations before they even begin filming, and frequently what is filmed is not what's in the script, because things change on the ground. An actor can't say a particular line. An actor will have a brainstorm and ad lib something utterly brilliant.

As a writer myself, my job has very often been to also write on the job. So you get the script and a vague idea of how the scene might work, and you then add funny words or change the script. I'm not the world's best writer or the world's best actor, but I can do that thing where I can fix - or ruin - fix-slash-ruin, add quirk, add value.

My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.

INVENTING A WRITING system from scratch must have been incomparably more difficult than borrowing and adapting one. The first scribes had to settle on basic principles that we now take for granted. For example, they had to figure out how to decompose a continuous utterance into speech units, regardless of whether those units were taken as words, syllables, or phonemes. They

It was written in the ancient RUNIX spell-language, and is read-only and can't be modified.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

I'd love to work on a script in collaboration.

I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.

I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.

Id just love to have an audience and its the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.