Scripts Quotes

Females want other females to be really strong, so there are a whole lot of scripts that are basically just male parts renamed as a girl.

I get a lot of action scripts. I get low-budget vehicles that will end up right on the video shelf. I want to do movies that I want to talk about, that I'm proud of, but I also want to make a living.

I don't have wild dogs chasing people with scripts away from my door. I get my share. I've done okay. But I usually do independent stuff because that's mostly what I'm offered.

If I were actually Homer Simpson, I'd be getting scripts out the wazoo.

But most scripts are terrible. Most projects are bad, that's just kind of the way it is. And I'm not really attracted to those.

I had a very insightful friend who warned me back when I stopped reading scripts, 'It's easier to change directions while you're still moving.' If you stop, it's harder to get started again. I still don't think I made the wrong decision, but he was right.

My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that. The reason I do that is because I know what it takes once I engage, what that means for me personally and for my wife.

I'm lucky; people write scripts for me.

There are all these scripts where the women, if they're working, are prostitutes and lawyers with an angry streak who'll kill you. It's a reaction to women leaving their men and men being angry about it and saying it on some subconscious level.

With scripts I've always looked at them and thought about kids, you know? Thought about the world and the impact... I won't do nudity and I never felt comfortable with that whole idea or things with huge sexual content - not my thing.

I fix things now and then, more often tweak HTML and make scripts to do things.

Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.

People recognize me, I have scripts, and auditions. And I meet great people.

I've always been a character actor, although I'm not quite sure what that means. All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else.

Alexander Payne's very specific. His scripts are always complete when you start working on them.

I write scripts in storyboard fashion using stick figures, and thought balloons and word balloons and captions. Then I'll write descriptions of what scenes should look like and turn it over to the artist.

They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.

We grew up in abject poverty. Acting, writing scripts and skits were a way of escaping our environment at a very young age.

I've been blessed with some lovely scripts and a character that people could truly identify with. It's one of those surprises in life that makes you think, 'God was smiling on me that particular day.

I never do any television without chocolate. That's my motto and I live by it. Quite often I write the scripts and I make sure there are chocolate scenes. Actually I'm a bit of a chocolate tart and will eat anything. It's amazing I'm so slim.

You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.

The Lord Chamberlin was censoring scripts when I first came into the theater.

It was a joy to be a part of the team that created Round The Horne. I was involved with the show at a time of my life when I was very happy., and that happiness overflowed into the scripts.

There's editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there's not a lot of that for me.

I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.

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.

When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.

About a year ago I got really exhausted from reading bad scripts and I know that I am a writer and that I have stories to tell, so I thought, 'Let's do this!' So I'm co-writing a screenplay now with another screenwriter and loving it. Absolutely loving it. And I would like to be the producer on the project and of course the lead is me.