Scripts Quotes
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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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We all sit in front of our mics and our scripts lay on music stands. Then the silliness begins!
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In terms of script, Bollywood should learn from South Indian scripts. Not talking about the fights and action, I am talking about the drama bit.
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I am on the lookout for smart scripts and stories where my role has weightage.
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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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I don't prepare for anything very well. I am not a good actor. I don't read scripts.
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If a script has that affect on me during a reading, then it is definitely a film I want to be part of.
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Sometimes my scripts get so dissolved, and they're so different from when I wrote them originally, that I find it hard to find what I wrote in it.
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The trouble is, being an actor, you're always being sent scripts, so you've always got something to read. You've always got about three scripts to read, that you have to read, all the time. So finding a book or getting into a book series is hard, especially for me.
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I enjoy co-directing or even being there just for support because you get to see your script come to aural life in front of you.
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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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Scripts are kind of a bare bones type of reading material.
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There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.
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If Gucci handbags were still in fashion Greenaway would carry his scripts in them.
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Would you believe, I am still offered scripts and projects all the time?
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You are the vibrational writers of the script of your life, and everyone else in the Universe is playing the part that you have assigned to them.
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As a character, you're working within the realm of what's on the script page.
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Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.
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You can only get that cast by either paying for them or having a good script. And we didn't have any cash.
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Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.
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I think the part I enjoy most is reading the scripts and screening films because I'm a bookworm and a movie buff.
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A movie goes from several stages, from idea to script. As you continue shooting, you will make some adjustments. You're constantly adjusting. It's like a piece of music. You're constantly trying to make it better.
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I wake up to an email from the writers with the new script, and I always get so excited because I know it'll be better all-around than the script from the week before.
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A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
