Harvey Pekar Quotes
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
Quotes to Explore
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I'd read a lot of scripts, and I remember reading 'Orange Is the New Black,' and it was at the head of the pack. I remember thinking, 'Wow, that is really good. I would love to be a part of that.'
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The script [for the movie based on the life of singer Connie Francis -- "Who's Sorry Now?"] is finished and is in the hands of several artists to see if somebody wants to film at the start of [2006].
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Would you believe, I am still offered scripts and projects all the time?
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This script was just so much smarter than usual and I'm just fascinated by human behavior.
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It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.
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And I sit in my jacuzzi with my script.
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Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.
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What made me want to be on it was reading a really good script, and being compelled by and attracted to the characters. I really loved Maura Isles, who was very fascinating to me.
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When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
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I try to have a balance of things you like and things you don't like about a character. But once you start that, all these scripts are like, "You play the douchebag friend of Ashton Kutcher." It's all these characters that are overconfident or hyper-masculine.
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I believe I am God's favorite comedian. I think he is a really big comedy writer. He writes scripts. And I just follow along.
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All great scripts need not reach silver screen, and every good story can't be narrated in a 2-hour film.
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When I was writing the script I thought he is this guy. I really hoped...I kept imagining him as that guy. And then he came in to audition and I was really nervous because I really wanted him to do Greek, you know? And he...I didn't know who else I could cast. And he was amazing in the audition. Really funny.
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To sit down at a computer every day and write a script is commendable. I don't have the patience for it, but I have some fantastic ideas.
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There's one great script that hit my desk that I didn't change at all, and that was True Romance.
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I made a point to not read too far ahead with the first six or seven episodes of any show. I would read the outlines, but I didn't really want to read scripts too far in advance because I didn't really want to get ahead of myself, at all. To be honest, I don't have the time to come up with theories.
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Music is for theater like theater is for scripts. It's total: it's cyclical.
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If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
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I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes.
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The only thing that I know about Feyenoord, is that they are from the country of Ajax
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Don't know how I kept going. You just do. You have to, so you do.
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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
