Scripts Quotes

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.

When you're writing a story in bits and pieces, month in and month out, there really isn't time or space for reflection, no room to learn what those scripts had to teach you.

I suppose I can do more for a script as an actor than as a writer - in the film sense.

Because of the way the business is structured, I have sometimes turned down scripts that I might otherwise have accepted had I known who was directing them.

Reading scripts is actually quite a relaxing part of the job. Strangely relaxing. This is a whole different ball game.

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!'

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

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

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

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.

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.

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.

People are calling a lot, sending scripts my way. Yes, it's wonderful because, let's face it, there aren't many wonderful scripts for women over the age of 10.

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

For me, it was the challenge of doing a movie that is in one location. Usually, there are a few scripts obviously always going around with stories that happen in one location.

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.

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.

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

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

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

You stick to the script, the script is Bible.

I feel lucky, though, because even when 'Alias' was popular, I was still sent scripts against type. I've never felt like the world only sees me one way. But yes, it's been really fun to be bad.

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

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.

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.

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

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

It was easier to do Shakespeare than a lot of modern movie scripts that are so poorly written.

I'm reading a lot of scripts. It makes my career decisions in that sense much the same way I consume media.

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.

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

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

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.

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

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.

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.

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

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

I was meeting a lot of directors and reading scripts, and I was like, "Well, I'd love to play this part," but I couldn't.

A script is like a theory of a movie.

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.

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

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.

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

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

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

I don't know how I absorb things, but I do. I just absorb them. I don't over read the script, and I don't really ever spend much time learning it.