Script Quotes

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.

I play Father Francis in 'The Exorcist Prequel.' It's fantastic. We are shooting in Morrocco and Rome. Paul Schrader is directing; Stellan Skarsgard plays the younger Max Von Sydow character. It's just a fantastic script. It's a very eerie, very scary script. It encomposes a growing dread that I think is really appropriate for the film.

Rock is all about writing your own script; it's all about pioneering.

As an actor, you really want to respect and honor the script. You want to try to be in the moment and you also realize that you're one part of a bigger picture and when they call action, you have your dance.

I'd love to say I made the smart decision of picking projects that became hits, but with 'The Good Wife,' I read the script and something inside me said, 'I love this, I want to do this.'

For the last four or five years, I had been in the position where I didn't have to take a pilot. I took this one because the script and the people were terrific. It never frightened me. As we were doing the pilot, I could tell that it was working.

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.

I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.

There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story.

I do actually dabble in a bit of poetry! And I'm yet to pen a script, but it is something that I've been telling myself I want to do.

We have the script, we have the actors, and we're trying to figure out what this is, and you don't know what it is. You have to be open to what it's going to become rather than have this thing that you're trying to get to, which is boring.

I've seen a lot of friends who have a lot of great projects, whether it's a script or a play or whatever, and it is a great project and they have great people involved, and they can't make it.

Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

To find a script that works with provocative ideas is hard to find.

The great thing I think when you do independents is that people are really there for the same reason. They're not there because they got a lot of money and they want to just go home and get it over with. They're there because they believe in the script or the director or the cast or whatever it is, and they want to make it work.

I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole.

I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at it.

It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.

I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.

I think sequels should be earned and we won't do it unless the script is better than the first one.

What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.

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.

Yes, I am aware that I have become a caricature. I've thought about this. Conceptually, what I'd like to do is the equivalent of writing myself out of the script.

We all had our reservations about possibly overdoing it but, you know, the script was great. Basically it stuck to the formula that worked for the first two movies, and for that reason I think this works as well.

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