Work harder than everybody. Read scripts, watch movies. Help other writers, it makes you better. And probably move to L.A.
American scripts are usually non-stop conversation. People talking over each other. I like that.
I don’t like scripts.
I started at an agency called Intertalent. You copy scripts, you pick up people’s dry cleaning, you take their dogs to the vet, you deliver packages, you do whatever they want you to do.
I had a very insightful friend who warned me back when I stopped reading scripts, ‘It’s easier to change directions while you’re still moving.’ If you stop, it’s harder to get started again. I still don’t think I made the wrong decision, but he was right.
I love to write. I write everything across the board – kids’ stories and novels and scripts. I actually would like to give that a go; I’d like to try to be a writer.
Our vision is to break the projects into stories that must be told, stories that we would like to tell and stories that people go to movies for. If we can find great scripts that fit these three categories, we will go out and make a movie.
I am glad that I am in a position to select scripts I would be comfortable working in.
Scripts are very different to books. They are blueprints for building, not the building.
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.
Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.
I’m probably working on three different scripts at any time, so there’s never a time where I’ve got nothing to do.
I never examined what I did in any great detail because I thought it would spoil things. I never read the scripts at all carefully, and never wanted to know what was going on, because I felt that being a benevolent alien that’s the way it should be.
You try to go where the great scripts are, if you can, or you go where the not great scripts are, because that’s what’s being offered to you.
There was a point of time when there wasn’t anything new coming to me, but the same old scripts. But, the script of ‘Thira’ motivated me.
I get a lot of dark scripts now. I don’t wanna be stuck doing movies like American Pie. For someone my age, once you get started doing them, it’s hard to get out.
As a family, we ensure we sit together and listen to scripts. But the choice of doing a film is entirely mine.
I am open to writing more, and not just film scripts but maybe also a book.
I’ve been involved with great scripts and so-so leadership, and it’s clear to me that leadership is the most compelling factor.
I wrote a lot when I was younger, though never anything like plays or scripts.
I like dialogue that is slightly more brittle than life. I have always admired and wished to write one of those 1940s film scripts where every line is written with a sharpness and economy that is frankly artificial.
I would get scripts about ‘a young swinging bachelor on the make,’ and I said, ‘No, I’ve done that.’
We’ve read scripts, and I think right now we are just focusing in on school.
There are a lot of considerations that come into play when you craft one of these ‘Saw’ scripts, and there’s only so much you can put into them.
In high school, I was doing my magazine ‘Rookie’ and a lot of writing, and I became a little less interested in the fashion world. I was approached by an agent for writing, and I said I wanted to act as well. They sent me scripts, and then I got my first Broadway play, ‘This Is Our Youth’.
Regarding scripts and projects, I’ve always been open to reading all sorts of genres and never closing myself off to one, because you never know what you might find.
I don’t prepare for anything very well. I am not a good actor. I don’t read scripts.
I read a lot of scripts at the beginning of 2015.
The Lord Chamberlin was censoring scripts when I first came into the theater.
Now I can broadcast to an audience of several million people on the ‘Today’ programme. I can talk about the day’s news. But on radio, believe it or not, we have notes and scripts. And while we might ad lib the odd wryly amusing asides, they come at the frequency of a suburban bus. About one every 90 minutes.
Initially, I thought that Ethereum was a thing that would be used for people to write simple financial scripts. As it turns out, people are writing stuff like Augur on top of it.
After playing Saffy in ‘Ab Fab’, I needed to take time out from acting to see if I really wanted to do it. I had been doing it for a very long time and I was being sent the same sort of scripts again and again.
It’s very rare to have rehearsal time on a television show: You get scripts, you show up, and you do it.
There are definitely scripts I start reading, where it doesn’t interest me. Maybe it’ll be a good movie, but the character doesn’t intrigue me.
With TV, the pace is so fast, the scripts are coming at you, the directors are firing things at you, it’s breathtaking.
If I write scripts that nobody likes, I don’t think we’ll be doing ‘True Detective.’
I’m terrible at reading scripts. I love to read, and I hate reading scripts.
I was on vacation with my family when I got the scripts for ‘Wanderlust’ and I was trying to work on the audition while I was on vacation. I remember a big gust of wind blew the entire script into the pool, so I had to dry it with a hairdryer.
I have written a bunch of scripts that have not gotten produced, much more so early in my career than later.
I can’t imagine something worse than scripts being written into a tunnel, thinking, ‘I don’t know when this ends. I don’t know.’ It usually ends when people get sick of it, but I think it’s great when it gets to end on its own terms.
I don’t know if it’s that the scripts are evolving or just that I’m getting older, but the characters become more interesting as you get older because you’ve lived more life at different stages. You’ve loved; you’ve lost; you have more of that journey.
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.
You were taught how to do the things you needed to do. Dance, speech, fencing. They groomed people. If you were in a film, and the script wasn’t working for you, they brought in screenwriters and fixed the scripts.
‘The Living And The Dead’ is one of those scripts that you read and are instantly compelled and engaged by. It’s intelligent, chilling, and engrossing.
He was a patient man, a kind man, a man who cared about animals and human beings, all qualities not to be devalued, but James Herriot was not a saint. I tried so hard to play against some of the scripts that implied that he was a saint, but I don’t think I was always altogether successful.
I’ve spent my entire career on horseback or on a motorcycle. It boxes you in, the way people perceive you. I read a lot of scripts. Most of ’em go to other actors.
A lot of times, especially with TV, I would get these scripts, and I’m like, ‘Oh, they want me to be the good-looking guy who’s a little bit of a rascal.’ It’s just boring.
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.
Nobody wants to take a risk with scripts that push the envelope.
It’s hard to find scripts that know what they are from page one to page 115.
I think you have to be in an insane stratosphere in terms of fame in order to get offered really well-written scripts. Amanda Peet is definitely not in that group.
The Cyrillic and Greek scripts in particular have an alien beauty in their unfamiliar letterforms. Five weights of stroke thickness create subtle variations in light and dark that reflect the emerging and fading of the stars.
I think when you’re a bigger star you get many good scripts sent to you, and you have to choose which one you’re going to gravitate toward, but I just try to gravitate toward the best-written one that’s been thrown my way after a lot of girls have passed on it.
I’m always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.
Since ‘Heroes’ started, I’ve probably had about 15 or 16 film scripts sent to me with Indian characters, and out of those, maybe one was good.
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.
I get scripts and think, ‘There’s not enough here to get my teeth stuck into.’ That’s a result of studying English, where you luxuriate in these big, lush novels.
I like to allow a story to arise as I’m writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes.
I can’t read scripts any more because of the trouble with my eyes.
I read scripts movie, TV and theater. I read every novel that is published. I read every book that comes out on the theater or the movies, including the technical ones.
There have been actresses who transitioned and nobody knew. But for me, with everybody knowing my history, it will be harder. I’m sure there are some great scripts calling for an ultra-glamorous woman. And I’m prepared to be ultra-glamorous.
