Script Quotes

Compared to dancing, films seemed to me to be the work of lay bums. There was no physical pain; it was enough to say and imagine what was in the script. It was very easy for me.

I regret not doing a film that I was offered with Clark Gable because the script was not good enough.

That's the thing about the script, is that how these people were affected by their decision, and how it could ultimately kill them, and I mean literally.

If the script grabs me and appeals to me, I'm really very keen to work on it.

As a rule it usually takes three or four readings for me to be interested in a script, and if I'm interested I'll read it three or four times before I make a strong decision.

I always get quite close to my script because I work quite hard on them.

And the inner dynamics of Hollywood are like politics. Say you give a script to a group of executives - they all sit around, afraid to voice an opinion, saying nothing, waiting to know what the consensus is. Just like focus groups, opinion polls or a cabinet.

My very, very first professional job was when I was 19 years old - I got a job doing an educational industrial film on Shell Motor Oil's oil products. I really put my heart into it - I wrote a script for it, I did a lot of research.

Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

There's a certain arrogance to an actor who will look at a script and feel like, because the words are simple, maybe they can paraphrase it and make it better.

There was a time when I read a script and I just got excited about the possibilities.

If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.

You can dress it up, but it comes down to the fact that a movie is only as good as its script.

It's an unfair comparison because when things are developed in the UK, they're developed at script stage only.

I would be sad if it ended now. It's been the best job I've had by a long shot, especially creatively because the writing is so good. Every week I get the script and I laugh out loud and get excited for the different stuff we get to do.

Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.

Tony Hale is a devout Christian and is a complete retard when it comes to swearing. The script called for him to swear for about 30 seconds and he just couldn't do it.

Filming a movie is different from a TV show because film is a lot quicker, you get to see the character progress and grow all in one script, and in television, you wait for a weekly update on each character.

When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.

You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

It's hard to find a play that's right for me to do. Rather than waiting around for the right script to come along, I decided to write one myself.

It wasn't the greatest script in the world, but not many people can say they've played a wicked king in a swashbuckling Arthurian special-effects monster movie.

Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.

The difference between life and the movies is that a script has to make sense, and life doesn't.

Well if somebody's giving me a script, I'll consider it. But it's not something I'm chasing.

I always choose my projects for the script or what the director want to tell with that story. And if I like the story.

I don't work very much, and I just sit here waiting for a script that I can't refuse - and I'm not talking about money.

I just arrive, they hand me a script and say, do it.