Script Quotes

I don't sit around and study the pages of a script over and over again.

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not.

I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.

Aaron is not at all what his image might indicate. He's fiercly loyal and a true and total gentleman. He's very shy but has very strong opinions. He's into everything, wardrobe, hair, script, casting.

Aaron is a very passionate, maniacal writer so the scripts really come from him, but he is very open to... y'know, we'll plan ideas and we'll certainly tussle about stuff when the script comes out. So, to a certain extent, he's very interested. If there's some problem or something that doesn't ring true, he wants to know why and he wants to correct it or fight for it.

I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.

While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht.

Working with Danny Thomas was truly an adventure every week. Danny didn't always say the words as they appeared in the script. I learned more by osmosis than by sitting down together. He was a force to be reckoned with: an explorer of television.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

I think first impressions are important when you pick up a script.

So it was just funny to read a script that was just similar to what had been going on in my life.

Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script.

I'm reteaming with the producers of 'Twilight' on an awesome script. It's very serious, dramatic and different for me. I'm excited to see what's next. I love all aspects of film and all genres.

Even as an actor, I think like a storyteller. My parents raised us to look at the script.

The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.

You can trust a Neil Simon script. Every dot. Every dash; that pause means something. He takes all the jokes out, practically.

Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.

I was out to have a good time and have some fun. It's a fun script and fun people are in the movie.

When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.

I can't imagine directing from someone else's script.

I spent almost 3 months with Bergman, four hours every afternoon. We sat and went through the whole script. To be honest, most of the time we talked about life and other different things. It was really a wonderful time.

I knew I could only play Cyrano if he were Americanized. I had no intention of writing the script myself. I was afraid of it. You're playing with fire when you tamper with a classic. So I went looking for a writer. But it was such a personal idea, and anyone I would give it to would make it his own. It's hard to ask Neil Simon to write your idea.

The green-light meeting, when I first started at Paramount, would consist of maybe three or four of us in a room. Perhaps two or three of us would have read the script under discussion.

I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

All we did in Alabama was have a read through with the script, but there was, 'No, well, it needs more. You've got to do this, Albert. You've got to do that, Jessica.' It didn't feel like that at all.

When I get a new script my mom will read them and just be aghast. I think it's hysterical.