Screenplay Quotes

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

I don't care who you are. When you sit down to write the first page of your screenplay, in your head, you're also writing your Oscar acceptance speech.

This is not a screenplay. I don't do twenty drafts. I'm not going to show this to you until it's published or accepted for publication. You can make whatever suggestions you want, but I probably will ignore them entirely.

I look for an interesting and often times, fresh character. Something different that what is done all the time or than I've done recently. I look at who is directing. Those two variables as well as a third, which is the content and the quality of the screenplay. I look at the arcs of the scenes and characters and relationships.

There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.

It's much like writing a screenplay with someone else and that's how we view it, I think.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

You use simple brushstrokes in a screenplay for things over which you would take much greater pains in a novel.

A stage play requires very different craft from a book, fiction or otherwise, and ditto from a screenplay.

Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.

The first comedy screenplay that I wrote was Animal House and I always thought I could and should be a director but no one was about to give me that opportunity on Animal House.

So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.

I can never read this book, just like I can never see a movie that I wrote a screenplay for. I can read it and see it physically, but I can't accurately judge it. I'm too close to it. If I read it ten times I'll have ten different reactions.

I didn't know anything about writing a screenplay, but somehow I ended up rewriting a screenplay.

I have always had trouble recognizing myself in the features of the intellectual playing his political role according to the screenplay that you are familiar with and whose heritage deserves to be questioned.

About a year ago I got really exhausted from reading bad scripts and I know that I am a writer and that I have stories to tell, so I thought, 'Let's do this!' So I'm co-writing a screenplay now with another screenwriter and loving it. Absolutely loving it. And I would like to be the producer on the project and of course the lead is me.

You're torn between wanting to fill in all the spaces and knowing that's really going to screw up the screenplay. And yet, how are you going to communicate it to people who really don't understand the process?

Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.

I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.

A screenplay is not a finished product; a novel is. A screenplay is a blueprint for something - for a building that will most likely never be built.

If I could find the right kind of property, get tied in with the right movie, I'd love to be involved, but I just find it hard to be motivated to do another screenplay right now.

I want to release another CD this year, finish writing a screenplay, and make another short film.

There's nothing more important in making movies than the screenplay.

As human beings, of course, we're all compromised and complex and contradictory and if a screenplay can express those contradictions within a character and if there's room for me to express them, that's a part I'd love to play, so much more than a character who is heroic and one-dimensional.

For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.

When I write a screenplay, and when I direct, I always pull lines out.

David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.

I am co-writing a screenplay now and I'm working on the rights to another story I want to do. So I plan to produce and direct. So, for me, I don't really feel that I am vulnerable to that sad baggage that comes with the business of filmmaking.

If I talk about Charles Dance I am talking about something else, something I operate and wind up and have to make an impression with and use to transmit someone else's screenplay.