Screenplay Quotes

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

The last person they expected to connect with a screenplay was the comedic, blonde actress with the funny voice.

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.

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.

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

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.

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.

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

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 you play it straight it's funny - the best comedy is always played straight down the middle. The adjustment is understanding from the screenplay that a moment is hilarious.

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.

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 way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.

You sell a screenplay like you sell a car. If someone drives it off a cliff, that's it.

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 don't begin a novel or a screenplay until I know the ending. And I don't mean only that I have to know what happens. I mean that I have to hear the actual sentences. I have to know what atmosphere the words convey.

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.

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?

Getting your screenplay right is the most important thing you'll ever do on your film.

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.

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 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.

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.

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

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.

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

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.

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

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.

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.