A Quote by Amanda Abbington

If you get a script and it's really well written, that's always exciting. — © Amanda Abbington
If you get a script and it's really well written, that's always exciting.
You can always find ways to make it different, as long as it's a really well-written script and well-written character.
Mark and jay Duplass really like to improvise. Even if we beg them to go back to the script, they invariably ask us to go "off the rails," as they like to call it. It's just the way they work. You get a full written script. And it's really, really, really good, so that's why it's kind of peculiar that they always want you to improvise, because if I wrote something that good, I would want everyone to stick to the dialogue that was written.
I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
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.
When script is written well, then you start to make decisions of, "Well, do I want to be away from home for that long? Do I like the people involved?" When it's written well, a lot of those things go away and you can't not do it.
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.
Even if the script's well written there's something about the life of an improvisation that resonates better than a written word, sometimes.
I know it's boring to say this but I always start with the script. I mean if it's well written and it's a character that I haven't necessarily played before.
I'm just an actor. It's the way the script is written, and it's easy. I don't have think about it. When you receive the script, you know pretty well how to play it, apart from little technicalities like the accent.
The script of 'Hum Paanch' was extremely powerful, written by Imtiaz Patel. He has written the characters so well, people got hooked with each of them.
Dream projects are always a funny thing to label. I guess just more exciting scripts in my inbox. Maybe an exciting script about John Lennon.
We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one.
The script is your map of the world, isn't it? And if someone knows that if it's well-written, you get all of the beats, it will tell you everything you need to know.
You know that something is really well written when you have to think so little about the words that are coming out of your mouth and you're able to dwell in your own headspace to get there. It's very easy to recall and remember because it's written so well.
It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting.
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