Script Quotes

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.

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.

A script is not a piece of literature it's a process.

In the original script, my character was a basketball player rather than a boxer. I didn't think I could pull that off. I'm a little short to be a basketball player!

When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'

I love 'Safe Men.' Now it's getting all this culty kind of - it just came out on DVD. That was awesome. I read that script, I never laughed so hard in my life.

What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it.

I was concerned about doing a sequel and repeating myself. That was before I read the script.

I think I do have a good eye. It's quite liberating, being in a position to read a script and say, 'No.' It's really the only power you have, as an actor.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers.

Nobody taught Picasso how to paint - he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.

Triple tonguing? It was sort of invented. It wasn't in the script. It was something that I came up with.

Sometimes I want to do something that's really funny and other times I read an indie script that is going to be made for nothing but I want to do it because I think that I can connect with something in the story.

I'm always looking for a low-budget script with an interesting character to play.

Right before I got 'Sons of Anarchy,' I actually quit acting for 18 months and didn't read a single script, and I wrote a film. I felt like I needed to do something that I had control over, as an artist, and also just do something where I felt like I had some control over my life, as just a human, out in the world.