Words matter. These are the best Script Quotes from famous people such as James Burrows, Molly Ringwald, Tina Brown, Howie Mandel, Toby Stephens, and they’re great for sharing with your friends.
Script comes first, then the actors, then you gotta be lucky enough to get the right time slot. Then people have to watch.
You never know when you read a script how it’s going to turn out because so much depends on the collaboration between people. If I’d been in some of the movies I turned down, maybe they wouldn’t have been a success.
Give Obama a script he has made his own, and he is the motivational speaker to end all speakers. Tony Robbins cloned with Honest Abe.
I was totally involved in Bobby’s World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.
Screen is satisfying because it’s so technical and mysterious. It’s like playing roulette: you get a script, you think it’s either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor – and you get brief moments of grace, where suddenly you feel free.
I’ve done about six comedies. Oddly enough, the script came to me from one of the guys in Platoon.
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.
When I read a script, I try not to judge the characters. I try to have an open mind and really see what it makes me feel.
A lot of black actors will sit there and go, ‘Every role is about being a gangster’ – then they get an opportunity to write a script and they write about a gangster. You know… write about a superhero.
When I was 16, I got ‘Jamon, Jamon.’ Of course, I had to lie about my age. And I had to lie to my parents about the content of the script.
Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.
I think sequels should be earned and we won’t do it unless the script is better than the first one.
It’s really cool when the thing you are working on as a small team gets embraced by millions, but in the end, it’s about your character and the script and your director and the rest of the cast and crew.
I feel very blessed in my career to have been able to bounce back and forth between different things, television and film, comedies and some dramas, but I am, um, as long as the script inspires me and there good people, that’s it. I’m in.
I’m not really comfortable with who I am to be honest. I feel more free to step into the shoes of somebody else. There’s always an element of me in there but, you know, if you give me a script and some clothes I can do anything. But, as Ryan, I’m a bit of a recluse.
Nobody taught Picasso how to paint – he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can’t learn what’s right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.
I think it’s always challenging to look at a script and make it your own while maintaining the sense of what the style of the show is.
I don’t think I would be a good actor! People enjoyed ‘Dancing With the Stars’ because I was myself, and every time they told me to say something, I would say my own words, so I don’t think I could follow a script well!
Well, I love TV, and I love a good script.
I was very happy sitting alone at a dining room table, writing a script.
When I do a novel, I don’t really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.
We had a script reading, and that’s where we met J.K. Rowling, which was really exciting.
In my early 20s, I didn’t even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character.
I was studying my ‘Bold and Beautiful’ script the other day, lying in a hammock, when one of my Siberian tigers walked up and grabbed it out of my hand – she wanted to play. See – teeth marks!
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part’s not that great.
When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.
My agent sent me the script and I loved it. I wondered how they would turn me into a chimp. My agent said it would probably not entail to much time. Just some hair and make-up. I found out that it was not so simple.
You have to be careful so you don’t make your character dull and predictable. Sometimes you have to bend the script a little… The bad guys are mostly the same on the paper… A bad guy wouldn’t think of himself as bad.
What you see in my script may not be what’s in the film. Sometimes it’s a very scary thing, when I have to shoot in the morning and the scene’s not good enough, and it’s only me there, and there’s no signal to even call the others and say, think of a better line.
I was asked to do a reading of ‘G.B.F.’ and I loved the script. I thought it was one of the most amazing things I’d read, but it took a year to get a green light for production.
A different script calls for different things. It always takes me a long time to get to know the part, and know the logic behind the words. I have to be with the script for quite a long time before things start to fall into place, before they become part of the character.
Even as an actor, I think like a storyteller. My parents raised us to look at the script.
I hadn’t worked for a year when I had my Prison Break audition and it was the easiest audition I’ve ever had. I got the script on Friday, went to the audition on Monday and got the part on Tuesday. I was shooting the pilot a week later. I didn’t have time to be nervous – it happened so quickly.
I write an actual script rather quickly – a draft will take me two weeks – but I write a lot of drafts. My big thing is I don’t re-read. When I write, I never re-read back. I’ll send it, because if I re-read back, it will cripple me.
I’ve been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn’t it?
To try to create a character without a whole lot of information can be taxing. At the same time, it’s fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.
Whenever I’m offered something, I always read the script and meet the director. I still appreciate just being considered.
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.
When you make feature films, you have a script, which is a bible. The final result should be as it was written down on paper. And in documentary, you can write whatever you want, but life brings you situations where you have to be fast thinking, fast moving.
Whatever happens in my life from now on, I know the day I finally die – the final act of my script – people will always make references to the work I’ve done with Almodovar.
I’ve worked on all sorts of things, like the sci-fi stuff for Vin Diesel, where the script is numbered and is in unphotocopy-able colours and your name is stamped into every page. And it doesn’t really help because it creates a false sense of specialness about the thing.
I’d always intended to make ‘Far North’ straight after ‘The Warrior.’ We had the rights to the short story, the script was in development, and I knew where I wanted to shoot it. It just took a long time getting the script together and raising the finance.
Shiddat’ is a beautiful story of love and the strong bonds between people. It is pure and intense and also very relatable. I am usually not a love story kind of person, but when I heard the script, it moved me a lot.
Acting’s incredibly enjoyable, but sometimes it doesn’t feel quite enough. I’ve also written a script about the life of Eleanor of Aquitaine. This will make me sound like a female Kenneth Branagh, but I can’t think of anything nicer than directing myself from a script I wrote.
‘Podaa Podi’ is a film that sees Simbu and Varalakshmi in three phases of life. Thus this film of course takes more time to wrap than usual flicks. The film is entirely being shot in London and we require to shoot it only during a particular season as the script demands 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 work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.
I am going to have to stick to the script. If I muck around with the words it will defeat the object.
It feels very, very good to make a film freely, to work without having to wait years for script approval, without looking over your shoulder.
When I get a new script my mom will read them and just be aghast. I think it’s hysterical.