Browsing Topic Best Scripts Quotes

Poetry is the journal of the sea animal living on land, wanting to fly in the air. Poetry is a search for syllables to shoot at the barriers of the unknown and the unknowable. Poetry is a phantom script telling how rainbows are made and why they go away.

The beats are like scripts, and the raps are my monologue.

I love all types of music. Jazz, classical, blues, rock, hip-hop. I often write scripts to instrumentals like a hip-hop artist. Music inspires me to write. It’s either music playing or completely silent. Sometimes distant sound fuels you. In New York there’s always a buzzing beneath you.

I’ve never played a character that is just beautiful, but sometimes you can read scripts that sound so shallow, like women are objects. I’ve never done something like that, though.

You shouldn’t speak until you know what you’re talking about. That’s why I get uncomfortable with interviews. Reporters ask me what I feel China should do about Tibet. Who cares what I think China should do? I’m a f***ing actor! They hand me a script. I act. I’m here for entertainment, basically, when you whittle everything away. I’m a grown man who puts on makeup.

Quite often, I’ll be sent a script for a movie. And I find that I like it, so I say I’ll do it. But then they rewrite it for me. They make it quirky. Odd. I find that rather annoying. I call it Walkenising.

A script is only as good as the director who’s making it.

A film can be big or small – I have to just fall in love with it. To connect with the character, the script, and the director. Sometimes they say to you, ‘You should do that for your career; it’s a big thing, people will go and see it,’ but I wouldn’t be able to, because my heart wouldn’t be in it. I would drive people quite mad.

I’m a big believer that the script is your bible.

Show me a bad script and I will show you a big payday.

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.’

When you finish writing the scripts they have time to take a breath and think about everything. There’s just a little more time to think. Network does not allow for that.

I have never, for a single moment, been aware of pressure from anyone in television about how I dress, what my shape is or how I speak. I’ve always written my own scripts. I’ve always been the first to point out that I need to be fit. I need to look good.

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.

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.

When you did the job, you thought you were just trying to amuse your friends who are all on the job. I’m just trying to make the sound guy laugh, the script supervisor. A movie like Caddyshack, I can walk on a golf course and some guy will be screaming entire scenes at me and expecting me to do it word for word with him. It’s like, ‘Fella, I did that once. I improvised that scene. I don’t remember how it goes’. But I’m charmed by it. I’m not like, ‘Hey, knock it off’. It’s kind of cool.

I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.

I’m blessed with learning easily. I’ve always had a good thing about memorizing quickly, and I just leave the script kind of open somewhere, and as I walk by I’ll just take a swipe at it and then go on about my business and pretty soon it sticks.

I’ve had various experiences where I’ve been called by Hollywood studios to look at a script or comment on various scientific ideas that they’re trying to inject into a story.

I’ve always felt that I’m in a spontaneous business and if you script something, if you plan something, it will sound that way.

I wouldn’t be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.

Usually when you start the characters, the first thing is the script. Your design work is about telling the story. It’s later that casting comes into play, but it’s a huge component.

It’s just I hate reading the description ‘offbeat’ about a character in a script, because I, along with Seth Green, Jamie Kennedy and a few others, have cornered the market on ‘offbeat.’

I’m just an actor. It’s the way the script is written, and it’s easy. I don’t have think about it. When you receive the script, you know pretty well how to play it, apart from little technicalities like the accent.

I just believe in the movie. I don’t care what the book was like. I don’t care what the previous film was like or other films were like. I care only about the script I’ve got.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn’t going to work.

The one affectation I have forced on the publisher… are my apostrophe-free ellisions. Because I write my scripts to read myself, I dont spell ‘don’t’ with an apostrophe. I spell it ‘dont’. We all know the word and it seems foolish to put in an extraneous apostrophe. Punctuation marks are devices we use to make the meaning of sentences clear. There is nothing confusing about a word like ‘dont’ printed without an apostrophe to indicate an omitted letter.

The role always attracts me. Sometimes I can read something and I can barely see the rest of the script.

I wrote [Collateral Beauty] on my own. I didn’t get paid to write it. I didn’t sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.

I think a good script is a rare thing, and I think no matter who you are you have to fight for the good ones.

There is no such thing as a good script, onlya good film, and I’m conscious that my scripts often read better than they play.

Great writing attracts great actors. It attracts money. Without a great script, you have nothing.

I always write the script by myself.

I read a lot of scripts, so I know by page 25 if I like it or not.

Well, I mean, the original is certainly the jump-off, it certainly is what it is, you know, I grew up around that era so I watched all those shows. The basic concept is there, it’s just a different movie. Totally different actors, different filmmakers, different script, but same concept.