Eighth Doctor: I love humans. Always seeing patterns in things that aren’t there.
When you look for beauty, you usually end up finding it. From Central Park Song (A Screenplay)
I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
The hardest thing about writing a script is you finish it, but it doesn't mean anything. It's not like a novel or short story - a script is meant to be made into a movie.
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.
When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
Eating together is the most intimate form of kinship. By scripting a work where we share the same kind of food with fish, I'm scripting our interrelationship with them.
When I read the script, I liked the script very much and I thought it was a marvelous part for her, because I think it is a change of pace. I mean, we know how wonderful she is in romantic comedy.
I'd rather say no and have said no and do say no often. I walk away from projects if it doesn't feel right; if it's not the right team of people pulling in together or if the script isn't right. It could be a great idea but the script doesn't work.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character...
I love TV, don't get me wrong. But with film, you're just banging out this one product, and you're not waiting on another script. You have your script. It's great in that way. It's as close to theater as you can get.
Writing is getting killed by too many chefs. Back in the Bogart days, it started with great scripts. You had a writer, and he wrote a script, and that was your movie. I think that's been watered down a bit lately.
Once I started selling scripts for a great deal of money - action scripts, no less, which people tend to pooh-pooh anyway - then I started to get some backlash. Which I didn't mind.
If you get a bad script, then you start expending energy trying to make a silk purse of a sow's ear. When the script's as good as those on 'Game of Thrones,' say, I don't think there was a single occasion where any of us thought there was a bad scene...
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.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
Christmas is a clandestinely ingenious script that outlines a plan to reclaim mankind through a strategy unimagined and unimaginable. This strategy involved God writing His own death into the script.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.
