Script Quotes
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I don't like to write any music to a script. Experience has taught me that's generally a waste of time.
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Read from a distant star, the majuscule script of our earthly existence would perhaps lead to the conclusion that the earth was the distinctively ascetic planet, a nook of disgruntled, arrogant creatures filled with a profound disgust with themselves, at the earth, at all life, who inflict as much pain on themselves as they possibly can out of pleasure in inflicting pain which is probably their only pleasure.
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I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.
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I had the advantage of reading the book, and when the script was first submitted to me, it was just another gangster story - the east side taking over the west side and all that.
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When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I dont have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.
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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.
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When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal.
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Everything you do on set is directly related to your imagination when you read the script for the first time.
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I simply asked if I could have a go at adapting a screenplay. But I did not want any money, in case I failed because I did not want a script out there with my name on it that might be completely dysfunctional.
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I've never committed to a role without a script.
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For me, the script is important. If it excites me, I'll do the film.
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I'm always looking for something very different from anything I've done. I'm attracted to a great script, and not necessarily a great character.
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If you do not have a good script, then no matter what the genre is, the film will not be a success.
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And the White House, totally off the script.
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I haven't heard anything about a reunion show for Sisters. But if the script was good I would do it.
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Nobody goes to a movie and watches the script. There is a lot of other stuff going on.
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We translated the script together with them. And during the process of translation, they rewrote the scripts. They put a lot into it. They made it their own. There are names of plants or chants or certain rites and everything that you cannot come across it in a movie. You know, you cannot learn about them casually. So the film doesn't have value in the ethnographical, anthropological. It's fiction.
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The stories have been told so often by those of us who supported President Reagan over the years that they seem mundane, almost like a fictional novel or a movie script.
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It has a good script now, so we should have that one up and running next year for release in 2008.
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We kind of lost a lot of that and puppeteers were sticking to the script and we thought everything needed to get a lot funnier, so we thought we would go to a good improv comedy instructor.
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Sin and forgiveness and falling and getting back up and losing the pearl of great price in the couch cushions but then finding it again, and again, and again? Those are the stumbling steps to becoming Real, the only script that's really worth following in this world or the one that's coming.
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Video game voicing is absolutely different from cartoon work. In cartoons, you're almost always there with the entire cast, and the entire script is acted out in sequence. With video games, it's you by yourself, in a room with a script you just got when you walked in.
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We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.
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For 'A.D.,' when I got the script, I was really moved, because even though it told a story that I knew all my life, it was told in a different way. It was told from a very personal point of view.
