Script Quotes

I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.

We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.

Right before Pamela Anderson met Tommy Lee I got this crazy script to do this incredible movie with her where I play this cop with a young partner like Brad Pitt who is in love with Pamela Anderson and he gets killed in the line of duty and she falls in love with me and it gets really crazy. I turned that down.

They have become part of us in that if we get dressed up as them, we don't actually have to have a script. You can just become them. You just become nervy.

When I'm the one who sits down and looks at the blank page and writes it out all the way, then I'll call it my script.

I'm sticking to the script, I'm putting that organic feeling back in the game.

Now it's a fully realized production but for the fact that we're holding our scripts in our hand and some of us used them, and some of us didn't and you have to by union rules hold the script. You don't have to use them but you gotta hold them.

When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.

When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.

A good script and a good brief from the director is enough to let me know what is expected of me.

My experience is that's rare - that you have a script that is... what they call 'film-ready.'

The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.

I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.

And when I'm on set, I'm just thinking about the script and of working. I think I've stayed focused on the work so much that I haven't really noticed my life start to change except for I've gotten busier.

If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.

Actually when I gave out the script, I gave it with a CD of all the music I wanted to put in the movie, and again, we never thought we'd get all that music.

I hope to be involved in a successful movie script.

It was, when I read it, I thought, such a beautiful script. I loved the story. I thought it was well handled. I thought it was even more moving because it was a true story and that made it even more poignant.

I love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.

I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.

I wrote a script. I actually enjoyed writing it more than acting. It's about the Irish rebellion of 1920, which is a fascinating period and place for me.

Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.

Even the busboys at the restaurants have a script to give you. Everybody is in the business.

Basically, the actor's job is to pay attention to the script.

You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.

You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.

I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.