Script Quotes

I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.

While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht.

Working with Danny Thomas was truly an adventure every week. Danny didn't always say the words as they appeared in the script. I learned more by osmosis than by sitting down together. He was a force to be reckoned with: an explorer of television.

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.

Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.

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

Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.

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.

If I get a script that's set in the jungle it goes to the bottom of the pile because I don't think the playgrounds are going to be very good there! I'm really aware of how lucky I am but I have the kind of job where I can bring my child to work.

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

Because I used to go and watch him rehearsing for pantomime, and I have adopted some of those priciples, like try to be on time, learn your script, how he approach it, etc.

First, you do a piece of material that begins and ends and has a flow; it's not chopped up as in a film, where in an extreme case you might be doing the last scene of the script the first day that you go to work, and you don't know enough about the character you're playing.

Eventually, the state's funding covered only the stages leading to presenting a film project to potential funding bodies. It was enough to produce a script, indicate casting and put together a budget to present it all, but nothing beyond that.

Anyway, he and I worked on the script together, and I must say he was a joy to work with. Very enthusiastic.

It all starts with the script: it's not worth taking myself away from my family if I don't have something I'm really passionate about.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

Twitter is so short, it's safe. I don't want my bosses to be like, 'Hey, your script is due and we saw you wrote four blog pages.'

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.

I'm not going to tell you the movies, but I remember getting halfway through the thing and everything sort of tunnel-visioned on me and I couldn't read the script anymore. I looked at the people and I just turned and ran out in a cold sweat. It took me about a year to study it and feel comfortable going in and reading for people.

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

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not.

I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.

Aaron is not at all what his image might indicate. He's fiercly loyal and a true and total gentleman. He's very shy but has very strong opinions. He's into everything, wardrobe, hair, script, casting.

Aaron is a very passionate, maniacal writer so the scripts really come from him, but he is very open to... y'know, we'll plan ideas and we'll certainly tussle about stuff when the script comes out. So, to a certain extent, he's very interested. If there's some problem or something that doesn't ring true, he wants to know why and he wants to correct it or fight for it.

I cling to the fantasy that I could have done something more creative. Like actually writing a script, or writing a book. But the awful truth is that I... probably can't!

I sold my first script when I was 21 - this kids' adventure movie that never got made. I just bought that one back, actually. I'm pretty psyched about it.

It's all about the script. Reality is key to me and less cutesy.