Script Quotes

I remember going to Bob Preston's dressing room because I was losing a laugh - as you do in a long run. He said, 'Give me the script. That's where you're going off the road.' That's comedy. It's never the line itself; it's in the foundation.

You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing.

Sometimes you take a job for the money, sometimes you take it for the location, sometimes you take it for the script; there are just a number of reasons, and ultimately what you see is the whole landscape of it. But I can tell you from behind the scenes - that's what it is, as an actor.

I don't worry too much about the script, I just ad lib, like Pearl Bailey.

I turned down the first script offered to me, and the second. I lay on my back one day under an umbrella, in the garden, reading the third, and wondered why I had turned down the first.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

We really love all sports, but we don't think in the long term. The reason we did Kingpin was because there was a script we really liked and we saw the possibilities.

It doesn't help anybody to put out a bad script.

But you're not necessarily ever going to be handed a script where you can say: it's all done and perfect.

Every time I try to retire, or even think of retiring from acting, my agent comes up with a script.

I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.

When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.

I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.

The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.

It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.

I didn't want to play a rancher. I didn't want to have a cowboy hat on; I wanted to get away from that in the things I do. But I read the script and fell in love with it. As hard as I tried to say no, I couldn't.

It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive.

What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.

I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.

It was pretty much the way that it was when I first read it, although one exception would be that some ideas that I had were also incorporated into the script.

Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.

I was one of the first to read the 'ER' script and the good news is George Clooney still gives me credit for helping to launch his career. I had George Clooney under contract for four years in a row before 'ER' happened. He's one of the few who remembers the people who helped him.

Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

There are a lot of roles in Shakespeare, basically. If I feel that the script is a movie, I would be interested in doing any role of Shakespeare's.

I read the script, and I knew it was a good part. It was written for a white actor. That's what I'm up against - I have to try to make roles happen for me that aren't written black.

I'd love to see a good script of one of my books, in these years of animations and comic book sequels, and had so many written over the years, but none quite clicked.