Quotes About Script

The problem is that you can't really read a script saying, 'Hmmm, I'll just see what this is.' You have to go right into it; you have to get engaged with it, and once you are engaged, you want to do it! It's really difficult to get uninvolved.

I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.

Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.

There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.

But I've never tried writing an episode of 'EastEnders', even as an exercise.

I'm working on the Star Wars script today and the people in my office have covered up all my windows with black paper. I guess they wanted to make sure no one could see what I was doing. It seems rather extreme.

If you think you don't want to play another psychopath, but the script is amazing, and the director is fantastic, and the story is incredible, then you may end up playing your third psychopath in a row.

That they showed, in Keeler's own, authenticated script, that she considered Horus a man, not a transformed, daemonic being. Further, they related that it had been commonly known at the time that the Emperor denied His divinity. He had formally declared that He was not a god, and sought to suppress the notion that He was. The Lectitio Divinitatus was already growing back then. The notes showed that the Emperor wanted it proscribed and forbidden.

Straight people don't have to come out, as heterosexuality is assumed. [...] Young straight people are less likely to question the choices that their families and societies are attempting to make for them. [...]A lot of straight people move through life following a script that others wrote for them.

I love being on stage if I'm not on a set. If I'm at home, I'm usually in my office editing or reconstructing my website or whatever it may be. I just love putting creativity into a performance, so if the right script comes along, and I certainly am reading comedies and dramas now, then I'm ready willing and able to give it a shot.

I still viewed myself as a reviewer when I was on radio. Was it appropriate for me? I think the answer is it's only inappropriate if I allowed it to affect my film reviewing. I don't think you will find any studio that said, 'Yeah, he went easy on us because he was shopping a script.'

I really liked the script of 'Alone.' I thought there were a lot unexpected things in the film, which I would want to watch as a viewer. I did not think like I was doing a horror film; I did not think in terms of genre. I decided on the basis of the script.

My creative team filters the scripts before they reach me and a few others. We evaluate them, ponder over the budget, and think of various possibilities to get the viewer excited.

My performance, I believe, is about my duty to the script, and my duty to the story that we're trying to tell, and I try to do that in a way that is true, in a way that's going to hold up the script, and that's going to be fun for the viewers to watch.

It's not that I won't do any horror movie. The script has to be good and also the execution has to be perfect to attract the viewers.

I love to play with the notion of who the protagonist is - who is the audience supposed to root for? I did it in 'Sicario' and feel it was the strength of the script - guiding the audience's allegiance toward the villain because they think he's the hero, until it's revealed that he's the villain.

Comedy completely depends on the script and the type of dialogues we get. Comedy is dependent on time and so I will say comedy is tougher than being a villain.

I really enjoy playing villains, whether they're realistic like Switchblade Sam or whether they're a bit more over-the-top like Kruge in 'Star Trek III' or Judge Doom in 'Who Framed Roger Rabbit.' It's sort of a license just to be as bad as the script allows you to be - you can just go for it and have fun.

'Vinyl' is a good look at the music industry. The script was honest.

I don't attack any kind of script or shooting with some philosophy that is discernible even to myself. It might just be art and love: When I got my Academy Award for 'Virginia Woolf' in the middle of the Vietnam War, I said, 'I hope we can use our art for peace and love.'

'The Fugitive Kind,' 'Rope,' 'Who's Afraid of Virginia Woolf?' - I watched all these as a way of reminding myself that you can do a movie based on a play. You can do a movie that stays in one place for a long stretch.

I'm always going with my visceral reaction when I read a script. I am more drawn to characters who are conflicted, and in developing a character exploration. If it's a baddie, I'm rarely intrigued, and if it's a goody two-shoes - too much of a good guy - I'm not, either.

I had a strong visceral reaction to the 'Moonlight' script, partly because I felt I knew all of these characters.

We are absolutely open to working with outside directors. But the criteria for working with outside directors would be the script they have, the kind of vision they have.