I wrote a lot when I was younger, though never anything like plays or scripts.
Music is for theater like theater is for scripts. It's total: it's cyclical.
I was really not familiar at all with Edward Snowden. I like to get that right out of the way and really learned most of what I know from Oliver's [Stones] script.
I used to write stories and poetry, but for some reason I have it in my head that if I'm going to write, I have to write a script.
Some scripts are pretty sparse.
I want to keep working. I want to step away from young adult fiction. I want to do theater periodically - Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
Acting is very competitive. There are few good scripts out there and the ones that are good are very competitive. You look at your options and often times they're not too appealing.
Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?'
Part of me was fascinated by the idea that I would only get next week's episode a week in advance and wouldn't actually know where I was going with it, until the script landed on my mat. But, part of me wanted to know what was going to happen.
I spent as much time writing proposals in '98 and '99 as I did writing scripts.
I can tell from about 20 yards away when someone has a manuscript for me. I can just tell - they have that look.
I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out.
The manuscript in the drawer either rots or ripens.
I keep every script from every film that I ever made because it's like a workbook of that time in my life.
I have a very good memory for scripts. I can watch a show I like once, then remember about 90% of the script. But ask me who was in it, and I wouldn't have a clue.
Dump ‘Em is the non-confrontationalist’s dream. With her easy-to-follow scripts and step-by-step plans, Jodyne Speyer provides a clear roadmap for ending even the most difficult relationships.
On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.
I'm an obsessive hiker and I do it every day for two hours and it really helps me when it comes to learning songs or scripts.
I don't look at scripts in terms of commerciality. I just look at the part, the people involved.
I'm so touched that complete strangers will send me a script asking me to be in their film. That still amazes me - and sometimes for a lot of money too.
The script just can't commit the sin of being boring.
In order to make a movie it isn't enough to have a script, it isn't enough to have a director, it isn't enough to have a male actor and a female actor, it isn't enough to have financing. You have to have them all at the same instant.
I've never known a situation in my career where a terrible script turned into a movie that was out of this world or was a success.
I'm sure great scripts are hard to find, but I'm definitely open, and waiting to see what comes my way.
[Noah Hawley] just a fantastic writer. It's always about the script, it's always about the book; it always is. If it ain't on the page, it ain't on the stage. That's what attracted me to him first and foremost.
