Scripts Quotes
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Scripts are kind of a bare bones type of reading material.
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Most scripts are so linear and simplistic in their plotline.
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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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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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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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You really get a feeling, when you're reading scripts, pretty quickly. Within 20 or 25 pages, you can get a sense of the part. I always think about whether I'm right for it and whether I can do it. If I don't think I'm right for it, it should go to somebody else.
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The past is a script we are constantly rewriting.
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[Writing scripts] I'm not looking to jump in and make super mainstream movies. I still like to make movies that I like to see.
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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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Improv definitely made me a better auditioner, without a doubt. We did do an audition semester in grad school, and that was helpful for those times that you have a script and you have a few days to prepare it, to really work on sides. But the auditions I was doing in New York, if you got it the night before, you were very lucky.
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And I sit in my jacuzzi with my script.
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It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.
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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.
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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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The difference between a movie star and a movie actor is this - a movie star will say, 'How can I change the script to suit me?' and a movie actor will say. 'How can I change me to suit the script?'
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I tend to look for a great script.
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My scripts are possibly too talkative.
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I'm not in a situation where you get a thousand scripts. You want to make a living, you want to put your kids through school. I'd rather do three bad films that pay well than do one good film every three years that doesn't pay well. ... To me, if you can get a steady check in this business, you're doing okay.
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I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.
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I wonder if I would have been capable of producing anything if I worked in a more conventional way with a prewritten script, because I'm of the procrastinator class.
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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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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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The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.
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"I wanted to be a director. I had started meeting people with scripts. One of those scripts of mine was very recently destroyed by a dear friend of mine. It was called Veer. Anyway, every place I went to with a script, they’d always tell me I should be an actor. They probably didn’t have faith in me as director. They thought what will this 17-18 year old boy direct? What sensibility will he have?
