Quotes About Script

I have done many films across the globe and would love to be a part of Bollywood, but the script must have a strong character for me.

I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.

I strongly believe that besides having good action, action-oriented films need to have a good baseline for the script.

Your structure and format may not be perfect, and you may not have picked the perfect franchise, but if I pick up a script, and the characters are real, whole, complicated and come from a place of somebody who really is feeling it, that's what people remember.

I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact.

If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.

I'm a stickler for structure. So I tend to make sure I'm hitting certain points in the script and that I'm progressing and moving things along. You know, are the characters keeping the plot moving along? And are they true, and do I know their motivations?

I decided to give acting a serious, committed try, and soon after, I read the script for 'Lovely and Amazing.' The story was beautiful and honest, and the characters struggled with the same insecurities many women - including me - face. I didn't think I had a chance in hell of being in the film, but I knew I had to go for it.

It's important for me as an actor to know the entire script before you start shooting, and especially if you're directing, you don't want to be struggling with anything.

'The Fighter' was about a family struggling to overcome and fighting each other sometimes, and I went back and rewrote this script which I had written for my son initially because my son has mood disorder.

You just have to take these opportunities when they come along. They're not that frequent; you'll get a really good script, oh, maybe once a year if you're lucky.

It's really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.

The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.

Apparently, all foreign media organisations have to follow an approved script of acceptable coverage, lest they are accused of interference. And make no mistake: we're not talking about neutrality. The only acceptable approach was, 'Support Clinton, attack Trump'.

We had a teacher in school who would organize dramatic shows. And she decided to put on a show about - I don't know whether you remember - 'Ferdinand the Bull', the comic script. However, she decided, you're going to sing Ferdinand, me, as a role.

'Sabotage' was a work for hire. It wasn't my original idea or script or anything.

The film you know as 'Super Troopers' is a film that almost didn't happen. The script was originally commissioned and developed by Miramax, but when it failed to get a green light, Harvey Weinstein was kind enough to give it back to us so we could make it elsewhere.

For me, in general, it's always about the material. Obviously, it's about the material and hoping that someone wants to hire me for a job, too, but I've certainly seen films like 'Orphan' and movies like that where I know that if I had had the opportunity to read that script or had an opportunity to do it, I would have wanted to do it.

I make it a point to study the character I do, and if the story demands that I wear a particular outfit, I'm game.

I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'

I liked it because it was such a dangerous script and showed just what human beings are capable of. Here was a movie in which Morgan Freeman and Brad Pitt, who always win in every movie they ever do, simply don't win. I felt that was outrageous for a commercial movie.

I take a script and mull over it and underline the bits I want to emphasize. When I go to the set, I know exactly what I want to do.

The time I heard the script for Hathiram's character in 'Paatal Lok,' I was sure it is one of the best characters that I had ever been offered. I am extremely overwhelmed with the kind of responses that I am getting for the performance.

Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.