Scripts Quotes

The past is a script we are constantly rewriting.

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

Compared to dancing, films seemed to me to be the work of lay bums. There was no physical pain; it was enough to say and imagine what was in the script. It was very easy for me.

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.

The first time someone called me a role model, I remember thinking, 'What does that mean?' But I feel aware of it when I'm reading scripts.

I started writing In Darkness out of a frustration of the quality of roles that I was reading in scripts for women.

For all filmmakers: True originality is the key, only direct your own unique movie scripts, be a megalomaniac and not give a damn.

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

I wrote a script. I actually enjoyed writing it more than acting. It's about the Irish rebellion of 1920, which is a fascinating period and place for me

I would guess that the price of the script really is secondary. The credit is much more the essence.

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.

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

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

You don't improvise with a Cameron Crowe script.

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

I won't be able to do what I'm doing forever. There aren't that many scripts floating around for fifty-year-old chicks.

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.

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

I've never seen or heard of a mob sitting down to read a film script.

I don't know if I'm always going to be acting. Maybe when I grow up, I will be a scriptwriter. I already have a few scripts in my head.

I often give my wife Carol scripts I'm offered and want her opinion - because she's a really smart lady, and she's got nothing to do with this business, so I get the audience's point of view.

A good script and a good brief from the director is enough to let me know what is expected of me.

I don't get the great story line, action, mystery scripts; I get comedies. And relationship comedies are what I do. It's what attracted me to American Pie.

For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.

I sort of love reading the scripts and going, 'Oh wow, what a great idea. I never would have thought of that.

I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.

There are so many scripts and they are fantastic. I think I would like to do something different, maybe something smaller.

Even the busboys at the restaurants have a script to give you. Everybody is in the business.

Human consciousness is too obscure a mystery to itself for us to script our own lives.

I often have scripts sent to me with allegedly Scottish characters where I end up telling them, 'You're going to have to rethink this whole thing!

There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads and the pictures were so vivid.

[Writing scripts] I'm not looking to jump in and make super mainstream movies. I still like to make movies that I like to see.

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.

I can't read scripts any more because of the trouble with my eyes.

If it's an excellent script, I enjoy it tremendously, the acting part of it.

I hope to be involved in a successful movie script.

Writing a great script - not just a good one, but a great one - is almost an impossible task.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

The offers I get are for grandfathers, uncles - and they often die very quickly in the script.

I'd love to work on a script in collaboration.

When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.

It is easier to port a shell than a shell script.

At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie.

I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.

There are no great scripts - just great films.

I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.

In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.

It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go.

Scripts are corny and predictable. Real life is always better.