Script Quotes

I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.

I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do.

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.

There were rumors I wasn't going to die. The whole cast was sitting around the table reading the script. I fell on the floor - I'm not kidding. I looked up at Katherine Heigl, and she was crying.

What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work.

The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.

House was the first film where I had no influence on the script. I had to buy the script with the game rights.

What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.

Most shows, you really have to force it. And everybody's nervous, and the network is nervous, and they've all got their notepads out, and they're all going to give notes on what they think is funny, and everybody's trying to spin their jokes, and this was so - the script was so good that we didn't have to really do anything, and it made it so easy for us to do well.

I don't really get into a big intellectual analysis of why I am going to do a certain script or not.

I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.

We thought we'd write a good script for women, giving them the fun roles that generally men get.

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.

I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.

I remember the first reading of the script we had and everybody was sitting around the table. I was very impressed with the level of acting that was in the room, particularly with Jennifer who has so much responsibility.

I would love to occasionally do English-speaking films, but the script is as important for me as the director.

I can't remember what my first script was.

They've got this house style which is writer driven. I heard of one person who sent his script in, and Karen Berger said there weren't enough words in it. Put some more in.

The script was always the most important thing to me and I loved the script. For one thing, I've always admired trees. I just worship them. Think what trees have witnessed, what history, such as living through the Civil War, yet they still survive.

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.

Filming a movie is different from a TV show because film is a lot quicker, you get to see the character progress and grow all in one script, and in television, you wait for a weekly update on each character.

When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.

You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself.

It wasn't the greatest script in the world, but not many people can say they've played a wicked king in a swashbuckling Arthurian special-effects monster movie.

Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.

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