Script Quotes

Most actors really love it, that's what they want to do. They burn to do it. And so they'll read a script and think, that's an interesting part. And because they love acting, that blinds them to the fact that the rest of it is pretentious nonsense, which it very often is.

Fozzie Bear has so many bear puns in this script - like, 'Trac is grizzly!' 'This is unbearable!' It's the greatest.

I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.

Of course, I'm not allowed to talk about the script, but I can say it is a really good story.

To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.

I took the role because it's rare to read a script that makes me laugh and cry, and it spoke to my own religious feelings, as well as giving me a chance to draw on my experience as a parent. Accepting it was a no-brainer.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

To try and stand outside the marriage, I'd say we have complementary capabilities. I do the hustling and the business. I do more script reading. I handle contracts.

A script is not a piece of literature it's a process.

In the original script, my character was a basketball player rather than a boxer. I didn't think I could pull that off. I'm a little short to be a basketball player!

When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'

I love 'Safe Men.' Now it's getting all this culty kind of - it just came out on DVD. That was awesome. I read that script, I never laughed so hard in my life.

What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it.

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.

Most of the time when I receive a script, it says something like 'Rosenberg is the fat, slovenly Mayor, who doesn't want the kids to use the skateboard park', or 'Stein is a pompous, rotund attorney, imposing to all.' It would be so freeing to get a script where my character is simply described as 'A Man'.

They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.

I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.

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.