Script Quotes

It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.

I didn't want to play a rancher. I didn't want to have a cowboy hat on; I wanted to get away from that in the things I do. But I read the script and fell in love with it. As hard as I tried to say no, I couldn't.

It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive.

What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.

I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.

It was pretty much the way that it was when I first read it, although one exception would be that some ideas that I had were also incorporated into the script.

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

I was one of the first to read the 'ER' script and the good news is George Clooney still gives me credit for helping to launch his career. I had George Clooney under contract for four years in a row before 'ER' happened. He's one of the few who remembers the people who helped him.

Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

There are a lot of roles in Shakespeare, basically. If I feel that the script is a movie, I would be interested in doing any role of Shakespeare's.

I read the script, and I knew it was a good part. It was written for a white actor. That's what I'm up against - I have to try to make roles happen for me that aren't written black.

I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.

Oh I am trying to remember, we would read the script after we did the show.

Because these show are live, script pages are being switched during the program and new commercial teases might be yelled in your ear with just enough time to scribble them on scrap paper before reading them.

When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!

Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.'

The stories have been told so often by those of us who supported President Reagan over the years that they seem mundane, almost like a fictional novel or a movie script.

My mum reads every script before I go for it.

For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.

Then in came this script with another very low offer, and another drug addict and a depressing and difficult part to play. I thought, 'Why should I put myself through that for hardly any money?'

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.