Scripts Quotes - Page 22

You see a lot of good ideas or well-written scripts that are bad ideas.

To find a script that works with provocative ideas is hard to find.

What I mostly do is take the script, analyse the hell out of it, see what's in there, see what kind of person I'm dealing with, and then forget I'm playing a father and just play a person who exemplifies all those things.

Universal rushed us. We started shooting without a script that was totally completed.

Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck.

I love this script [The Hollars] because I'm lucky enough to come from a really tightknit family.

My springboard is always the script. Even if the script is taken from a novel, I often haven't read the novel...

I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.

I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."

A script is like a theory of a movie.

When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.

A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do.

I screen tested for Training Day many years ago, which was David Ayer's script with Antoine Fuqua directing.

I'm always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

You can have a great script, and it can be a great show, but for whatever reason, it just doesn't take the public's interest.

It's all about the script. Reality is key to me and less cutesy.

It's a shame, but every time I get something scientific in the script, I read up to find out what I'm talking about - but then I'm on to the next script and it's forgotten.

If I ever wrote a script myself, it would be strongly emotional material.

I feel guilty if I'm not reading books, but I read scripts of movies or things that I know I'm committed to that I'm going to do the project. I tell myself, "I'm going to read this script like six times," and I only read it the initial time.

If the young filmmakers ask themselves enough questions and come up with enough answers and get the scripts tight enough.

I don't think comedy is something you learn. I think it's something that's either there or it's not. When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.

When I read a script, I have to see the funny, and if I can see it's funny, it helps me to be able to transmit that.

I write plays instinctively. I don't like writing movie scripts.

The padded outfits, the bad scripts, the phony-looking sets... he dealt with it all. He had to. He was Superman.