A Quote by Colin Morgan

'The Living And The Dead' is one of those scripts that you read and are instantly compelled and engaged by. It's intelligent, chilling, and engrossing. — © Colin Morgan
'The Living And The Dead' is one of those scripts that you read and are instantly compelled and engaged by. It's intelligent, chilling, and engrossing.
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
What is it really like to be engaged?" asked Anne curiously. "Well, that all depends on who you're engaged to," answered Diana, with that maddening air of superior wisdom always assumed by those who are engaged over those who are not.
It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.
I want to work with intelligent people and look for scripts that I think are intelligent and surprising.
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.
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.
From the start I was a kid who read 'Goosebumps', and that led me to Stephen King, and then I saw 'Aliens,' and 'Night of the Living Dead,' the original. And with 'Night of the Living Dead' I was like, 'Oh my god, there's a black person who's the main character. Does anybody see that?'
I write scripts, I read scripts, I meet people who chat about their scripts. So honestly, I don't feel bad if I don't act in a film, as long as people are making great films.
There are certain scripts that are just written in a way where, for whatever reason, I read it, and instantly that inspiration hit me and it was just kind of electric, and I didn't have to think about it. It just kind of went from there.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
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 structure is intact.
I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.
I don't get that many scripts. Back in Australia, I've pretty much done my own shows and really no work outside of that. It's only now that I'm starting to read some Hollywood film scripts, and I've read some really great ones.
The trouble is, being an actor, you're always being sent scripts, so you've always got something to read. You've always got about three scripts to read, that you have to read, all the time. So finding a book or getting into a book series is hard, especially for me.
I instantly connect to certain characters and scripts.
For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.
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