Script Quotes

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.

Now it's a fully realized production but for the fact that we're holding our scripts in our hand and some of us used them, and some of us didn't and you have to by union rules hold the script. You don't have to use them but you gotta hold them.

When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.

When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.

A good script and a good brief from the director is enough to let me know what is expected of me.

My experience is that's rare - that you have a script that is... what they call 'film-ready.'

The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.

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.

Rock is all about writing your own script; it's all about pioneering.

As an actor, you really want to respect and honor the script. You want to try to be in the moment and you also realize that you're one part of a bigger picture and when they call action, you have your dance.

I'd love to say I made the smart decision of picking projects that became hits, but with 'The Good Wife,' I read the script and something inside me said, 'I love this, I want to do this.'

For the last four or five years, I had been in the position where I didn't have to take a pilot. I took this one because the script and the people were terrific. It never frightened me. As we were doing the pilot, I could tell that it was working.

Even the busboys at the restaurants have a script to give you. Everybody is in the business.

Basically, the actor's job is to pay attention to the script.

You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.

You'd go in, read the script once for timing and then you would sit around and play games. The sound effects people would come in and we would do a dress rehearsal so they could get the effects and the music cues in place. Then you would wait until you went on the air.

I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.

I had a feeling about directing Cocoon II: The Return. At first I wasn't too interested because it was a sequel. Then I read the script and was excited by the relationships and its mystic quality.

There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story.

I do actually dabble in a bit of poetry! And I'm yet to pen a script, but it is something that I've been telling myself I want to do.

We have the script, we have the actors, and we're trying to figure out what this is, and you don't know what it is. You have to be open to what it's going to become rather than have this thing that you're trying to get to, which is boring.