A Quote by Devon Bostick
It sucks when you read the script and you're like, "No, I liked that guy!" It's hard to read through the scripts sometimes, and just hope that people you like aren't gone. It scares you.
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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.
I wrote a script, and I gave it to a guy who reads scripts, and he read it, and he liked it, but he said he thinks I ought to re-write it. I said, "Fuck that - I'll just make a copy!"
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.
I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."
I feel guilty if I'm not reading books, but I read scripts of movies or things that I know I'm committed to that I'm going to do the project. I tell myself, "I'm going to read this script like six times," and I only read it the initial time.
When I read a script, I always - the first question I ask myself is, 'Is there something that I could bring to it that maybe the next guy wouldn't?' Because I've read a lot of very good scripts and thought there are people who could do this better than I.
A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.
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.
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.
It takes a very long time to read a script. I'll look at a script, but there are so many scripts. I remember once being at the dentist, and the guy was doing my teeth and telling me about the screenplay he'd written and he said, "Will you read it?" And I said "Oh...okay." And it turns out that it was about a dentist!
I read the 'Kapoor & Sons' script in a half hour, forty five minutes. Not because I skimming through it... I read it like a book. By the end, I was blown away. I picked up the phone and said, 'This script is gold.'
I get scripts all the time, but I read this [Baggage Claim] thoroughly, and I loved it. It was light hearted, cute, sweet, and funny. I told my agent that I liked the script, but I did let my acceptance of the role slide a little, until I was watching television one day; scrolling through the stations, and there was this play. And I don't like plays made for the screen. But, this one, "Suddenly Single", caught my attention.
I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor.
I think most people read and re-read the things that they have liked. That's certainly true in my case. I re-read Pound a great deal, I re-read Williams, I re-read Thomas, I re-read the people whom I cam to love when I was at what you might call a formative stage.
As we were negotiating, I didn't have a script. Once the deal is closed, they let you read the script. So, I got the script and was reading it like, "Oh, please be good!," because I'd already signed on the dotted line. And I read it and just went, "Okay, I'm going to be okay. Thank god!" It was a really funny, moving story.
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.
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