Scripts Quotes - Page 28

• If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.

  Steven Soderbergh

  Directors, Use, Want

  Source: therumpus.net

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• I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.

  Owen Wilson

  Girl, Stars, Character

  Interview with Maria Grazia Chiuri and Pierpaolo Piccioli, www.interviewmagazine.com. January 15, 2016.

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• And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes [Anderson] and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.

  Owen Wilson

  Thinking, Talking, Years

  Source: www.interviewmagazine.com

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• My husband [Julius Tennon] and I started a production company. We've already optioned a book and some scripts to do exactly that, to create more complicated, multi-faceted roles for African-Americans, especially African-American females. I think it's important.

  Viola Davis

  Husband, Book, Thinking

  Source: aalbc.com

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• The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.

  Ethan Hawke

  Communication, Mean, Talking

  Source: collider.com

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• I love working on scripts. I love coming up with ideas about what people would dress like or talk like. I love all that.

  Ethan Hawke

  Ideas, People, Dresses

  "Ethan Hawke on ‘Regression’, ‘The Magnificent Seven’, and Playing a Space Pimp in ‘Valerian’". Interview with Sheila Roberts, collider.com. February 4, 2016.

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• You can have a great script, or a great director and a bad script, and get a great movie. Nothing really guarantees anything.

  Douglas Booth

  Directors, Guarantees

  Source: www.interviewmagazine.com

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• The script's always important, but there are some things that have come out in the past year that, when we read them, everyone was like, "Oh my god, this is going to be the next best thing!" Then the movie falls completely flat on its face.

  Douglas Booth

  Fall, Past, Years

  Source: www.interviewmagazine.com

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• More often than not, if you've got a good director and a good script you can't really go wrong.

  Douglas Booth

  Directors, Good Directors, Ifs

  Source: www.interviewmagazine.com

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• I think everybody came into it with the understanding that they would go through an experience that is literally not by the book, that is not executing the script and then going home, but living and breathing these characters and being in the moment with each other, and improvising and creating a lot of present-tense intensity between characters.

  Oren Moverman

  Book, Home, Character

  "Rampart Director, Oren Moverman Interview". Interview with Maranda Pleasant, www.marandapleasantmedia.com.

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• All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear.

  Paul Greengrass

  Views, Directors, Way

  "Director Paul Greengrass Interview GREEN ZONE". Interview with Steve 'Frosty' Weintraub, collider.com. March 11, 2010.

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• There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.

  Paul Greengrass

  Cutting, Film, Ends

  "Director Paul Greengrass Interview GREEN ZONE". Interview with Steve 'Frosty' Weintraub, collider.com. March 11, 2010.

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• I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie.

  Robert Schwentke

  Real, Years, Two

  "Director Robert Schwentke Interview THE TIME TRAVELER’S WIFE". Interview with Steve 'Frosty' Weintraub, collider.com. August 10, 2009.

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• I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

  Robert Schwentke

  Artistic, Form, Should

  "Director Robert Schwentke Interview THE TIME TRAVELER’S WIFE". Interview with Steve 'Frosty' Weintraub, collider.com. August 10, 2009.

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• I'm quite severely dyslexic so I struggle with acting in certain ways. I always have to put in triple the amount of effort, which would always frustrate me a lot. I suppose that some people can just look at a script once and know it. That's not me. I really have to spend a bit of time with the lines. But it's my job and I've got better and better at it. If you're learning a lot, things start going quicker. Doing the lines with repetition and you just get it in your head somehow.

  Douglas Booth

  Jobs, Struggle, People

  Source: www.justjared.com

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• There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.

  William Monahan

  People, Want, Way

  Source: collider.com

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• Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma.

  William Monahan

  Anxiety, Trying, Four

  Source: collider.com

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• I always write as I like to write, and I've been thinking about it because I honestly didn't realize how different my stuff is, until I started looking at other people's scripts as a producer.

  William Monahan

  Writing, Thinking, People

  Source: collider.com

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• I don't like scripts leaking. On the other hand, the more real attention a script gets, the better.

  William Monahan

  Real, Hands, Attention

  Source: collider.com

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• In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.

  William Monahan

  People, Film, Landing

  Source: collider.com

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• I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry.

  William Monahan

  Thinking, Stuff, Ends

  Source: collider.com

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• Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.

  William Monahan

  Darkness, Might, Blah

  Source: collider.com

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• All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then.

  William Monahan

  Keys, Manhattan, Breakfast

  Source: collider.com

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• Years ago I was going to play Chet Baker in another movie and I really felt drawn to that character and the script is good and I met with Robert and we seemed simpatico and we developed. But I had a real passion for that role and that brought me deep into that film 'cause I got the sense that Robert Budreau was going to really let me be creative inside this part.

  Ethan Hawke

  Real, Passion, Character

  "Ethan Hawke talks 'Regression'". Interview with Josh Lasser, www.ign.com. February 4, 2016.

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• We have written a draft of the script in every calendar year since [2010]. Quite honestly. Our Deadpool file is... full, to capacity.

  Paul Wernick

  Years, Calendars, Capacity

  Source: www.denofgeek.com

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