Scripts Quotes

But if you put a script up in front of me to read, or a cue card, I couldn't do it without stuttering.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

The difference between life and the movies is that a script has to make sense, and life doesn't.

I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.

Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.

Fox came to us with the concept for ICE AGE and they came to us with the first draft of the script. They also gave us a mandate to make it into a comedy from what was previously a rather dramatic action concept.

I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch...

The most important thing is the story. Not the script, but the story.

Inspired music arises from an inspired movie which arises from an inspired script.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

But once we got on the air, everybody except Morey Amsterdam pretty much stuck to the script.

In a script, you have to link various episodes together, you have to generate suspense and you have to assemble things - through editing, for example. It's exactly the same in architecture. Architects also put together spatial episodes to make sequences.

I can't stand innuendo. If I see one in a script I whip it out immediately.

I don't act, anyway. The stuff is all injected as we go along. My pictures are made without script or written directions of any kind

The emotion is the music and the script is the libretto.

A good film script should be able to do completely without dialogue.

Acting should be bigger than life. Scripts should be bigger than life. It should all be bigger than life.

If you want to be a filmmaker, ask yourself if you could imagine doing any other job. If you can, that’s a script!

Once you crack the script, everything else follows.

My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.

I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

Hmm, limelight... No, I'm not Sienna Miller or Angelina Jolie. I'm very lucky and happy, but I still find it very difficult to get good scripts and good roles. It's really a jungle out there.

When you really want a role and you really want a character, you become quite close to the script and the project, and it is sad when it doesn't go your way. But I've found there's always another one, which will be as good if not better. You can't let your failures bring you down when you're an actor, because then you can't get up.

The secret of making movies is having the strongest possible script.

I read the script just once, and then forget it.I just deal with what I see every day on the screen and whetherI believe it and understand it.

'Groundhog Day' was one of the greatest scripts ever written. It didn't even get nominated for an Academy Award.

Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.

And I sit in my jacuzzi with my script.

When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories.

I don't like the word 'autobiography.' I rather like the term 'autofiction.' The second you make a script out of the story of your life, it becomes fictional. Of course, the truth is never far. But the story is created out of it.

I'm basically a writer, it's who I am. I direct and I like theatre directing very much. But I've done 17 movies, they don't say 'Let's get Garry, he'll make a helicopter shot,' they say 'Get Garry, he'll fix the script.'

That's the thing about prep, is that it's a joy to have it there and you can spend all this time prepping, but ultimately you have to look at your script and turn up on the day. It's embedded in there somewhere but you have to forget it all and play the scene because we are storytelling.

I find the most interesting and most daring scripts tend to be for independent films.

There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.

The script is a bible and it's this unchangeable document that somebody spent years and years on.

I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.

What is your Primary Aim? Where is the script to make your dreams come true?

I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.

I would take a bad script and a good director any day against a good script and a bad director.

The devil's script sells you the heart of a blackbird.

The most important thing is the script.

A lot of my time is spent watching films and reading scripts. And it can be all-consuming. And it's obviously something I'm fortunate that is both my work and my hobby. It's what I would naturally be doing anyway.

Life is like a B-picture script.

When you have a good script you're almost in more trouble than when you have a terrible script.

It's always the script that's going to lure me. And I don't really care about the part.

Sometimes my interest in working on a film is not always dictated specifically by the character. Sometimes it's simply about wanting to be a part of a vision that I love, or a script that I love. I find exciting and gratifying.

I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts.

The only thing that gets me back to directing is good scripts.

The only thing that works is a good script!

The action star's life is very short. Back in Asia, I can do whatever I want to do. I'm the producer, I'm the director, I can do so many things, but in Hollywood any time I present a script they say: "No, no, no, Rush Hour 3, Rush Hour 4."