Scripts Quotes - Page 17

I've seen a lot of friends who have a lot of great projects, whether it's a script or a play or whatever, and it is a great project and they have great people involved, and they can't make it.

I don't care for horror and fantasy films. I never go to see them in the theater. I know I've played in many of them, but I didn't do them because of their genre - I did them just because I loved their scripts.

You tend to get a script and you push it toward being the kind of film you want to make.

For writers that rehearsal period is death. It is the most destructive thing of all to a script.

In an ideal world the script is written lean and tight and therefore there are no scenes left on the cuttring room floor and therefore no extended edition.

The better the script, the less money there is. That's just the economics of the studio system.

Whenever I get a good script, I don't care whether it's telly or theatre or big screen - I'm not bothered.

I've been fired from a situational comedy with a script they wrote specifically for me because of my voice.

I never work from the script. I get the script more or less.

I fly around with chicks on each arm and have no script. I just talk about what I feel like. But that's why my act works: I'm like this normal guy.

Let's make movies, not deals. Let's write movies, not scripts.

We have written a draft of the script in every calendar year since [2010]. Quite honestly. Our Deadpool file is... full, to capacity.

There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.

Katie Dippold, who I wrote the script with, she's very into ghosts and all that. So I go, "Hey, why don't you talk to Katie?"

As an actor, it doesn't happen often that somebody sends you a script that is first of all that good.

I'd love to do a sci-fi movie, a western, or an espionage thriller. But I'm not going to limit myself. If a good script comes along, I'm not going to discount it because it doesn't fit into one of these genres.

It's very tricky to know when to stop. I think there are definitely moments where you feel that is the heart of a scene. When you're working on the script, you're looking for a handle on it.

We read the [Dracula] scripts, but Jess [De Gouw] and I are completely taken out of the hunts and anything with Van Helsing. We're just living our lives, as our characters.

It was just hilarious how my first reaction was, "Oh, no, it's another vampire show. I'm not interested." And then, I read the script and thought it was brilliant.

I choose projects that resonate with me on some personal level and projects that I'm afraid to do. If I'm afraid to do them, then I usually say yes, because it means that I'm not ready to go there and deal with certain aspects of the script.

When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.

Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft.

When I knew what I had to do / I took all my notebooks, all my manuscripts / and ate them page by page / so I could take my words with me

If I do do a sequel, I'm going to have to know for sure that the script is better than the original. So I'm going to be very careful about that because I'm not eager to repeat myself.

I've written plenty of scripts that sucked.