When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.
The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good... I remember thinking, 'Oh, this script is too good. They'll never give it t...
When you have a good script you're almost in more trouble than when you have a terrible script.
I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.
TV feels quite constipated, and the thing I find particularly difficult is the branding of the channels where it's not 'Is it a good script?' but 'Is it a BBC2 script?'
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
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.
Good scripts are hard to find.
It's a weird thing when you spend your life trying to find these great scripts and great parts. You are reading scripts, you are traveling the world, you are hassling your agent. You are trying to find that script.
I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the s...
The truth is, there are probably eight more 'Snow White' scripts floating around out there. And once one 'Snow White' script got hot, other people started pulling out their 'Snow White' scripts.
I'm just a sucker for a good script.
You stick to the script, the script is Bible.
I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at it.
I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.
When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.
What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do ...
Considering the fact that the Harappan script may have been proto-Brahmi, the underlying language to be expected should be Sanskrit, or proto-Sanskrit, or derivatives of Sanskrit. Many of the rules of evolution that apply to scripts are equivalently ...
A good script makes our job a lot easier.
There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script....
