Quotes About Script

Working in television, many times you read a script, you work on the pilot, and then you play the waiting game to see if you're able to make it a series.

Actors want to work. Give them characters they want to play, or a story they want to tell, and hopefully the budget will follow.

I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.

I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.

The work of the director is the work of constructing the shot list from the script.

You call this a script? Give me a couple of 5,000-dollar-a-week writers and I will write it myself.

The stuff that I write doesn't work very well as background music. You have to watch it from beginning to end and pay attention as if you were watching a play.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It's later that casting comes into play, but it's a huge component.

I think what's difficult is proving to people that a script actually does work and sometimes the laughter might not be on the page, it might be between the lines.

People who work on soaps all the time understand the formula of how to do it.

When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.

Of course, when you work with actors and when you work on a script everything that you know about the human experience can't possibly go in.

I choose my work very carefully, always for the script and the director, and I don't think that's going to change. My work is like a house. It's built on very strong poles.

If the script grabs me and appeals to me, I'm really very keen to work on it.

You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about.

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

No matter what strategies you make, if you don't get the right script, everything is going to go down.

If you're locked to the words on the script, as good as those scripted words are, if you didn't have the time to rehearse them correctly or if the perceived dynamic between the actors is different from what the writer imagined, and you're not allowed to stray from that, you're going to have a stilted scene.

Theater is so precious about each word - not that it's a bad thing, but you definitely never stray from the script.

I have a background in theater. At the time I read 'The Loved Ones' script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in 'A Streetcar Named Desire' and Isabella in 'Measure for Measure.'

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

Working with senior and star actors is always a positive and more satisfactory experience, but I have always stressed upon the quality of the script.

'Quantum of Solace' was a bit of a different circumstance than a lot of my other films because you're stepping into a franchise, and also in that particular film, we're dealing with a script from the writer's strike, which was difficult to handle because there was never time to really develop a finished script.

I usually decide if I'm going to do a movie based on if I like the script or not. I thought 'Pulling Strings' had every single element that a classic romantic comedy needs to be a success. It's very well written. The cast was amazing. It was a decision I made based on the power of the script.