Scripts Quotes - Page 23

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

I'd like to think that I have a plan, but you can't really pick what scripts you're going to get or what movie is going to come along.

Sometimes if a script is based on a book, that's what you should do: represent the book.

Acting, films, scripts, is literally the only thing I’m 100 percent confident in. I know what I’m doing. I just understand it, and I love it. When I’m on set, that’s when I feel the most at home and in control.

You stick to the script, the script is Bible.

I read a script and I know immediately whether that role is for me or not.

I think for me, when I'm looking at a script I really try to consider what experience am I embarking upon, because for me it's really about the experience.

I read a lot of scripts that I just don't find very funny.

As a director who does not like to write, I am always looking for scripts that I can contribute to through directing. I don't want to do the same thing that the writer is doing; I want to add an angle or highlight a theme.

I actually had a chance to be in Delta Farce, but I couldn't do it because I read the script.

He [Michael Cimino] wasn't the typical filmmaker. I don't know if he had more in him, he certainly had a lot of scripts. I know he wrote a hell of a lot.

My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me.

I'm not fixed in any genre. I love all kinds of films. The essential thing is; you have to have good material. If you have the filmmaker, and the material, and the script is good, you can start from there.

Whatever character you're playing you have to complete the entire interior infrastructure, whatever it is - but what gets divulged or what people completely understand depends on the script and what you decide to show. But you have to know it.

My easiest judgment for a script is 'do I want to keep reading it?'

It's always so much fun to create backstory. Even if there are more clues in the script, you still always have to invent a lot for yourself. I think that comes naturally.

I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.

Often in television, you read a script and you're amazed that you get the scene given to you.

What's been exciting for me is to read the scripts.

Lots of scripts are written and not made, even scripts that people want to make.

Once you read the script, it's the only way it can be.

When you are shooting with a robot you can't improvise. You can't really... the script is kind of the script.

When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'

The one good thing is that I get a lot more good scripts coming through my letterbox. 'Vera Drake' raised my profile in one way, and then 'Harry Potter' in another.

Actors tend to not know how their performances are going to actually be used. Even though the script says one thing, in the edit, it can be something else.