Script Quotes

If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.

Actually when I gave out the script, I gave it with a CD of all the music I wanted to put in the movie, and again, we never thought we'd get all that music.

I hope to be involved in a successful movie script.

It was, when I read it, I thought, such a beautiful script. I loved the story. I thought it was well handled. I thought it was even more moving because it was a true story and that made it even more poignant.

I love involving actors at all levels - and they have to know that I want to hear their contributions, with dialogue, with story suggestions, with script changes, whatever.

I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.

I wrote a script. I actually enjoyed writing it more than acting. It's about the Irish rebellion of 1920, which is a fascinating period and place for me.

Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why.

Most of the time when I receive a script, it says something like 'Rosenberg is the fat, slovenly Mayor, who doesn't want the kids to use the skateboard park', or 'Stein is a pompous, rotund attorney, imposing to all.' It would be so freeing to get a script where my character is simply described as 'A Man'.

They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.

I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.

I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.

We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.

Right before Pamela Anderson met Tommy Lee I got this crazy script to do this incredible movie with her where I play this cop with a young partner like Brad Pitt who is in love with Pamela Anderson and he gets killed in the line of duty and she falls in love with me and it gets really crazy. I turned that down.

They have become part of us in that if we get dressed up as them, we don't actually have to have a script. You can just become them. You just become nervy.

When I'm the one who sits down and looks at the blank page and writes it out all the way, then I'll call it my script.

I'm sticking to the script, I'm putting that organic feeling back in the game.

Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.

Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.

And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.

I honestly have no strategy whatsoever. I'm waiting for that script to pop through the letterbox and completely surprise me.

You hate to see yourself do one draft of a script and then have somebody else come back in and change what you've done.

I keep every script from every film that I ever made because it's like a workbook of that time in my life.

These things are hard to pin down. We work on a script a bit, then work on a different one.

First off, from reading the script and knowing that I was going to be apart of it, I'm a huge 'Wizard of Oz' fan so to be involved in something that was connected to the original books was really exciting for me and it was very different than anything I had ever worked on before.

The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.

I play Father Francis in 'The Exorcist Prequel.' It's fantastic. We are shooting in Morrocco and Rome. Paul Schrader is directing; Stellan Skarsgard plays the younger Max Von Sydow character. It's just a fantastic script. It's a very eerie, very scary script. It encomposes a growing dread that I think is really appropriate for the film.