Script Quotes

Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.

Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.

And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.

I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.

You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.

I keep every script from every film that I ever made because it's like a workbook of that time in my life.

These things are hard to pin down. We work on a script a bit, then work on a different one.

First off, from reading the script and knowing that I was going to be apart of it, I'm a huge 'Wizard of Oz' fan so to be involved in something that was connected to the original books was really exciting for me and it was very different than anything I had ever worked on before.

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.

Together with script writers Syd green and Dick Hills, we worked on the comedy ideas for this series.

Finally, when the money was high enough, the script suddenly revealed itself as being very clear to me.

The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.

When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.

I wouldn't know a good script if it bit me in the face.

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.