Scripts Quotes - Page 5

I had never really done something that was more of a horror film, and its funny, because those are the kind of movies that I like probably more than any other genre. The script had images in it that I liked.

Well if somebody's giving me a script, I'll consider it. But it's not something I'm chasing.

The key is, if youre not monkeying around with the script, then everything usually goes pretty well.

I made a point to not read too far ahead with the first six or seven episodes of any show. I would read the outlines, but I didn't really want to read scripts too far in advance because I didn't really want to get ahead of myself, at all. To be honest, I don't have the time to come up with theories.

I don't get rattled about the big things. I get rattled when I have to pick up my laundry, get gas in the car, pick up a script.

You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific.

I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.

Finally, Colin Farrell showed up on my doorstep, only he wasn't Colin Farrell - he was just this Irish kid who had read the script and wanted to do it.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

No matter how great the script, the actual film will only be a distant relative of it - it will never be an identical twin.

You don't improvise with a Cameron Crowe script.

Every script I've written and every series I've produced have expressed the things I most deeply believe.

Every screenwriter worthy of the name has already directed his film when he has written his script.

If I put the script down more than once, there's a good chance that I probably don't want to play the part.

I reject the word 'script' entirely-at any rate in the usual sense. I prefer the old usage-usually scenario-which it had in the Commedia dell'Arte, meaning an outline or scheme: it implies a dynamism, a number of ideas and principles from which one can set out to find the best possible approach to filming.

I have thus decided to make a certain film and now begins the complicated and difficult-to-master work. To transfer rhythms, moods, atmosphere, tensions, sequences, tones and scents into words and sentences in a readable or at least understandable script. This is difficult but not impossible.

Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.

But I've always been hard to cast, I've never been an ingenue, I've never been the romantic lead. I'm an actor; give me the script and I do what I do and hope it's good.

The script and the performances and the style all clicked.

Anybody can write a film script 'cuz it has been reduced to a formula.

While we're working on the script, I never see any films. I make it a point because I don't want to get distracted. I don't want to be influenced, and before I know it, have somebody say, "My God, she plagiarized that line."

Good scripts are hard to find.

I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.

The beats are like scripts, and the raps are my monologue.

I love Marlon Brando and James Dean. That was when it was all about the star and the script. Nowadays, everything has to be action-packed.