Script Quotes

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.

I remember the first reading of the script we had and everybody was sitting around the table. I was very impressed with the level of acting that was in the room, particularly with Jennifer who has so much responsibility.

I would love to occasionally do English-speaking films, but the script is as important for me as the director.

I can't remember what my first script was.

They've got this house style which is writer driven. I heard of one person who sent his script in, and Karen Berger said there weren't enough words in it. Put some more in.

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.

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.