Quotes About Script

What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.

A lot of times, when I'm approaching pre-production and my job, and trying to research and work on the script and whatnot it's always different.

When you pick up a script you want to do you generally have a theme you're trying to work with, and then it expands from that.

Sometimes as an actor you're struggling to make things work. That was never the case for me with [Big Little Lies script]. It just kind of flowed out.

You don't really work together with Clint Eastwood. I mean, he takes the script and he shoots it - and he shoots it very faithfully.

In my early 20s, I didn't even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character.

It's rare that a good writer will sit down and write a good script. Writers are greedy too, and they don't want to work without getting paid. But quality will find its way out.

The way I sometimes approach my work, when I look at a script for the first time, is to identify what the archetypes are and what the writing is trying to do in that context.

There's the acting side of it so you work with a coach. Dissect a script. If it's a character, then obviously a character study. Just depends on if there is training needed.

Sometimes you do a film because the script is amazing, sometimes you do it because you get to work with amazing people, and sometimes you do a film because they pay you money.

It's a whole other way of working when you work in films: You know exactly the arc of your character.

I always find that it's when a script is not detailed, then I have to do more work as an actor.

When you work without a script, you are in a sense working in a much more improvisational way than when you are prepared totally.

You just have to go with a good story and a script that you like and people that you like to work with.

But once we got on the air, everybody except Morey Amsterdam pretty much stuck to the script.

We all had our reservations about possibly overdoing it but, you know, the script was great. Basically it stuck to the formula that worked for the first two movies, and for that reason I think this works as well.

I wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.

I started doing documentaries in the first place because of the war. I always wanted to do feature films, and I studied directing when the war started, so I was working with actors before, in film and in theater. So I think it's easy to work with actors when you have a script that is clear, when they know what and why they are doing it.

During the inception of 'Zindagi Gulzar Hai,' we studied the characters and the script in depth so that we could imbibe the essence of it in our performance.

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?

Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.

During long car rides to the set, after I study my script, I go onto my iPad to read books and play games.

I am a quick study - I can memorize a script in an hour - but I can't remember a name three seconds. I've even forgotten my wife's name on occasion.