Script Quotes

I am a quick study - I can memorize a script in an hour - but I can't remember a name three seconds. I've even forgotten my wife's name on occasion.

I kind of went into soap opera with 'General Hospital' in the '80s. It's like theater because every day it's a new script, which really doesn't have a beginning, middle or end like a play or a movie script. So you have to be on your toes and bring it every day. And you have to be spontaneous, which is really how I like to work.

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

I don't really belong to that world and I don't think anyone's going to miss me. I'm much happier just to write myself out of the script entirely.

I'd love to work on a script in collaboration.

I would consider a half hour sitcom if the script was good.

Why not provoke some thought and get people talking about things? I like characters that are flawed because we all are. When people break up in a script, you think, Oh, right, there must be tears shed here. But maybe the fact of the matter is that they're both laughing.

I remember going to Bob Preston's dressing room because I was losing a laugh - as you do in a long run. He said, 'Give me the script. That's where you're going off the road.' That's comedy. It's never the line itself; it's in the foundation.

You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing.

Sometimes you take a job for the money, sometimes you take it for the location, sometimes you take it for the script; there are just a number of reasons, and ultimately what you see is the whole landscape of it. But I can tell you from behind the scenes - that's what it is, as an actor.

I turned down the first script offered to me, and the second. I lay on my back one day under an umbrella, in the garden, reading the third, and wondered why I had turned down the first.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

We really love all sports, but we don't think in the long term. The reason we did Kingpin was because there was a script we really liked and we saw the possibilities.

It doesn't help anybody to put out a bad script.

The stories have been told so often by those of us who supported President Reagan over the years that they seem mundane, almost like a fictional novel or a movie script.

My mum reads every script before I go for it.

For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.

Then in came this script with another very low offer, and another drug addict and a depressing and difficult part to play. I thought, 'Why should I put myself through that for hardly any money?'

When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.

I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.

The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.

I like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.

It's difficult when you have to turn down a tremendous amount of money because you don't like what the script is saying and you don't have any money.

I didn't want to play a rancher. I didn't want to have a cowboy hat on; I wanted to get away from that in the things I do. But I read the script and fell in love with it. As hard as I tried to say no, I couldn't.

It just gets frustrating playing the girlfriend, It's just this awful feeling, sitting in your house, waiting for a script to come. I like to be more proactive.

What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.

I get work because I'm primarily a novelist but I've become script doctor. I can work back and forth between French and English.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

I think that my script, if it gets used, would be great. But if it doesn't, I think it inspired them.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.