Scripts Quotes

Novels are a marathon, while comic scripts are a sprint.

I've been blessed with some lovely scripts and a character that people could truly identify with. It's one of those surprises in life that makes you think, 'God was smiling on me that particular day.

I'm pretty sure no one's reading action scripts saying, 'This has got to be Ed Helms.'

I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't.

I read a lot of scripts and so many are clearly a knockoff of one familiar genre or another.

I love horror films, so I guess it's one of those things where I find myself interested in the script.

I think, because I've been working for a while, I've been working since I was ten, I had the fortune of reading a lot, a lot of scripts.

I'm not staying away from any genre. I'm trying to get scripts that I like.

I've never read a script that I've loved equally and differently to the book.

When I read the scripts, I'm always so excited to see what's going to happen because it's unpredictable.

I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.

I won't read scripts because I have a limited amount of time. Why should I help other people do lame stuff when I can just go out and put on lame stuff of my own?

When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.

Well, I love TV, and I love a good script.

I have pictures from work that I'm sending to my family. I send them scripts that I'm working on so they can be excited and know what's up with me.

I love working on scripts. I love coming up with ideas about what people would dress like or talk like. I love all that.

I don't like things to be overcharged, because otherwise everyone starts getting nervous. I try to be very well organized. When I write the script, everything is already in there, like the decoupage.

I read a lot of scripts. I believe you've got to read one that you know you're not going to do, because you've got to educate yourself on what's out there to make the best decision for you.

I didnt write Snow White for any class, but I got bitten by the screenwriting bug and wrote a couple of scripts in my spare time instead of going to keg parties or something.

Most scripts that get written in Hollywood dont go anywhere.

The truth is, there are probably eight more Snow White scripts floating around out there. And once one Snow White script got hot, other people started pulling out their Snow White scripts.

I'm sent a script. I read the script. If I love it, I want to do it. And that's it I don't care who's in it, how much money is behind it, really to an extent who's directing it.

Once you've agreed the script, you must be willing to go as far as it needs to go on set.

I don't think about better. You just want it to work. You want it to work and you have your guide with the script. You want it to exist and complete.

Triple tonguing? It was sort of invented. It wasnt in the script. It was something that I came up with.

I like it when actors depart from the script to find their characters.

If I have a script, I tend to stick to it even if God may be leading me elsewhere in the moment.

Some of the stuff I get the scripts for, I read it and I'm like, "Wow." We're doing some crazy stuff on this show [Legends of Tommorow]. it's going to be amazing.

I just choose the scripts I want to work on. I don't know why. It's not something conscious or that I'm doing on purpose.

One reads many scripts, and some of them are good and some of them are not, but every now and then, one really grabs you. You simply can't put it down.

My scripts are always filled with notes. I like to just analyze everything from the point of view of the whole picture, of the movie, my whole picture.

Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that.

I don't sit around and study the pages of a script over and over again.

What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.

I was always writing scripts, and I had made several shorts, before and after film school. But I worked a variety of temp positions over the years.

When you first start out as an actor, you're just looking for a good part. As time goes on, if you're being held responsible for the movies themselves, you're looking for a good script all around.

People always say a script will be 'brought to life in a magical way,' but for me that has been proven wrong time and time again.

Always care for the writing part first. Every good film project starts with good writing. If you have a good script, everything else follows. Writing is crucial.

Good scripts and interesting stories are hard enough to find.

Once, I had so many scripts coming to me that I could hardly read them all.

For me, most comedy scripts fail in the mechanical playing-out of the setup. They'll pay lip service to a moral lesson or a psychological progression.

The original pilot script [ of "Mary and Jane"], we literally just wrote for fun. It was, let's just do this.

I was out to have a good time and have some fun. It's a fun script and fun people are in the movie.

I just have a belief that when there is a rare script out there that speaks to you, you have to stick with it. You have to.

I'd been working on the [Bridget Jones's Baby: The Diaries material] for years, first, in the Independent newspaper columns and then in the various versions of the movie scripts.

The greatest gift that an actor can have is good scripts because then you're relieved of the responsibility of trying to elevate the material.

It's not about Hollywood, it's always about a good script for me.

If the script grabs me and appeals to me, I'm really very keen to work on it.

I try to read everything that's sent me - play scripts, movie scripts - but I've had to make a rule. If the author hasn't grabbed me by Page 25, the piece goes back with a note of apology.

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.