Script Quotes

The script was always the most important thing to me and I loved the script. For one thing, I've always admired trees. I just worship them. Think what trees have witnessed, what history, such as living through the Civil War, yet they still survive.

My sister and I said, Dad, are you doing to do anything about that? And he mentioned treatments other people sent him that he'd been working on. So we thought it would be kind of cool to give these guys a real script.

I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.

I feel as though my career really hit its high point when I was cast as a supporting actress in 'American Wedding'. I thought the script had a lot of depth and intelligence, and it really just jumped off the page.

I respond to a part just intuitively when I read a script.

I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.

I couldn't say no to jobs and I couldn't say no to drugs. I'd get high from a movie, I'd be somebody else because I didn't particularly like me, so long as I had a script in my hand, I was okay. As soon as the movie was over, I didn't know what to do.

I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.

There were rumors I wasn't going to die. The whole cast was sitting around the table reading the script. I fell on the floor - I'm not kidding. I looked up at Katherine Heigl, and she was crying.

What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work.

The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.

The offers I get are for grandfathers, uncles - and they often die very quickly in the script.

House was the first film where I had no influence on the script. I had to buy the script with the game rights.

What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.

Most shows, you really have to force it. And everybody's nervous, and the network is nervous, and they've all got their notepads out, and they're all going to give notes on what they think is funny, and everybody's trying to spin their jokes, and this was so - the script was so good that we didn't have to really do anything, and it made it so easy for us to do well.

I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.

We thought we'd write a good script for women, giving them the fun roles that generally men get.

I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.

I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.

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.

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.