Script Quotes
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On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.
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You can always find ways to make it different, as long as it's a really well-written script and well-written character.
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Once the script is done, I put it aside for a month. I start thinking of all the films that have influenced me, which I have liked for different reasons, and not necessarily the look, but films that have moved me. Some very strange films came to mind.
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You can almost take the book and use it as a script.
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Every film starts with the script.
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I've seen it personally that people have a natural sensibility to Arabic script. I don't know it if it's because of the shape, I don't know what it is in this script that makes it so universal. But even if you don't understand it, you still have this feeling; you can feel the piece of art in front of you.
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Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.
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I would take a bad script and a good director any day against a good script and a bad director.
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They are getting tougher and tougher. I don't know if someone will make a movie on us, but they would have a good script.
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If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.
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There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.
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I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.
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There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
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Recently, my dad has been teaching me a lot - like how to read a script. It used to just be about hockey or baseball or sports of whatever. We don't have glitzy or glamour-y Hollywood-type talk, like, 'Isn't that person great?' It's more about the process of how it works.
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I decided to write Collateral Beauty on my own which made it the first spec script I wrote in 11 years.
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Every single time I read a script I'm breathless as I turn the pages.
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The inspiration is all in the script, in the text. So whatever it is, either it is a film or a book to be illustrated, anything. Everything you need to know is in the text. So the thing is trying to find right tone and voice, the right style, the right way of expressing the emotions in a story or in the location of the story, but it is all in the text.
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Of course, when you work with actors and when you work on a script everything that you know about the human experience can't possibly go in.
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You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
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The script, I always believe, is the foundation of everything.
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You usually get a script and you tell people what the story's about, and they have no idea what's going on. Whereas with an adaptation, you come into it, and it seems like everyone you talk to has a million opinions on the cast and the way the story should be told.
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I'm the only person who's ever opened the Oscars or done a spot on the Oscars without a script and having it on autocue.
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The key is, if youre not monkeying around with the script, then everything usually goes pretty well.
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The role always attracts me. Sometimes I can read something and I can barely see the rest of the script.
