Scripts Quotes

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.

The script just can't commit the sin of being boring.

At this point, I'm happy to be part of something special. As an actor I liked to choose scripts that I'm passionate about.

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.

I don't look at scripts in terms of commerciality. I just look at the part, the people involved.

I'd always envied actors who got to play real people or got to do research. I've always just had these scripts where, I mean not in a bad way, but it was right on 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 believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.

There's no one I trust in show business more than Sabrina Wind. She's my eyes and ears when I can't be there. She weighs in on everything, from scripts to sets to advertising.

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.

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.

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.

I like to hold a book. When someone sends me a script, I ask for a hard copy or print one out.

I spent as much time writing proposals in '98 and '99 as I did writing scripts.

For years I've wanted to work with this guy, so to actually write at the top of my scripts "Empress, Script by Mark Millar, Art by Stuart Immonen" is an absolute pleasure.

As an actor, you want to do the best job possible, and you want the best scripts possible because it makes life more interesting.

It's not often that I get to remember and use phrases like "on out my farm" or "powerful ugly" in modern scripts.

Dave Chappelle asked me to come do his show. I read the script, and I said, 'Has he lost his mind?'

Anytime I'm given scripts where I'm sort of the fantasy girl, it's hard for me because that's not real and I don't think it's a great thing to put out there consistently.

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.

I've never gotten hired for drama because I'm a good improviser. I don't think people who write drama scripts want you playing with them as much.

I am not just sitting and reading everything because honestly sometimes the scripts that appeal to me are projects that are not good projects, but I just really like the script or the characters.

Writing is a hard gig, and it's hard to convey a lot. That's why scripts tend to be a little bit overwritten.

Some scripts are pretty sparse.

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.

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.

Music is for theater like theater is for scripts. It's total: it's cyclical.

I wrote a lot when I was younger, though never anything like plays or scripts.

I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.

I could cover the gamut. It's cool though you go in for an hour, read the script, leave and you got a check.

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

How can I change me to suit the script?

My own mentality is that I've retired. They send me these scripts and if I absolutely have to do it, then I go to work.

When you pick up a script you want to do you generally have a theme you're trying to work with, and then it expands from that.

I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

Only a few of us will admit it, but actors will sometimes read a script like this: bullshit...bullshit...my part...blah, blah, blah...my part...bullshit.

To be fair to ourselves, in almost every original script, the timing is actually worked out down to the minute.

I'm always trying to work on scripts. I'm pretty selective. Sometimes maybe too much because I'm broke .

I get so excited about reading a new script.

For years, I was often afraid to speak up when I didn't fully understand a script. I'd tie myself in knots.

I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class.

I think when you're looking for scripts or for characters around your own age, a lot of the times they don't have the kind of responsibility that is usually seen in parts that are older for you.

I can't imagine being invested in someone else's script.

To do someone else's script? I don't think I'd have a reason.

I read so many scripts, that I don't do that much leisurely reading of books.

Every single time I read a script I'm breathless as I turn the pages.

It'll take me a lot longer to read a script if there's no director attached.

I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.

I think it's incumbent on actresses to bring something else to the part which isn't in the script.