Quotes About Script

When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.

The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.

I love improv. 'Crazy, Stupid, Love,' the script was really great, but the directors were open to letting you try different things. And that felt like a muscle I hadn't exercised in a really long time.

I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.

I didn't stutter when I was reading lines in a script. When I got away from myself, I didn't have that problem.

But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering.

Atanu is one of my favourite directors. His script, style of storytelling and characterisation are always very different.

Major differences in projects happen due to budget, director's styles, and genre of script, not industry.

Each script has its own calligraphic and cultural history. It is more a question of matching different calligraphic styles to one another, without the features of one script dominating another.

When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.

My first draft of Marvel Knights 'Black Panther' was not funny at all. They smartly rejected the entire script and counseled me to inject liberal doses of humor into very serious subject matter.

Whenever you write script without a director, you put in things that point toward a style in which the story will be told, a subjective style.

I can't really iterate what I look for in a script. It's a very subjective thing. Like an organic attachment you have with the script and characters.

Some people, especially literary people, they think, 'I'll write this original script, and it will be full of ideas. I'll submit it, and they'll hire me for television.' That's not the case.

What happens is you submit your script with an idea of what the budget might be, and the financier will offer you less than that. In order to do it for less, it means cutting out the art, usually.

As far as films are concerned, I would take up only those roles which are challenging and have some substance in them.

I make it a point to pick films that tell you a story in an engaging way. I can't compromise on the content. The script has to be substantial and impactful.

When you read something in script form, there are some subtleties that stand out with far greater gravitas than sometimes what you see on screen.

I decided to write [Collateral Beauty] on my own which made it the first spec script I wrote in 11 years.

My job as an actor is to serve the script. If I'm looking at it as to see what the best character is, then it's not really looking at the big picture.

I didn't really think of role in those terms, like 'quirky best friend', when I read the script and when I came to the project.

Was she impersonating someone, acting from a script prepared beforehand? Or was I dealing with a person who could not be dealt with because she was mad?

I had paid for my folly and, as a reward, was invited to take part in the nest builder's performance piece. The script was great. 'When I bleat here, do you want me to just bleat or to really let go and "bleat, bleat"?' I asked. 'I feel like "bleat, bleating," but if Mother/Destroyer is going to be crawling through the birth canal of concertina wire, I don't want to steal focus, you know what I mean?

I'm often misunderstood at my supermarket in Sussex, not because of my accent but because I tend to deviate from the script. Cashier: Hello, how are you this evening? Me: Has your house ever been burgled? Cashier: What? Me: Your house—has anyone ever broken into it and stolen things? With me, people aren't thinking What did you say? so much as Why are you saying that?