A Quote by Edgar Wright
Usually, if you read a script by somebody else and there's a dense page of stage directions, people just skip through it or speed read it.
Related Quotes
All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.
You just knew you were in great hands with somebody so talented, so bright and with such depth. We both [with Ellen Page] loved the script and the book [Into the Forest], which I read after I read the script, and highlighted it and dog-eared it to craziness.
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.
Trying to get somebody to read your script and you're a musician? That's the last person whose script you're gonna read!
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.
You can't just skip the boring parts." "Of course I can skip the boring parts." "How do you know they're boring if you don't read them?" "I can tell." "Then you can't say you've read the whole play." "I think I can live a happy life, Meryl Lee, even if I don't read the boring parts of The Tragedy of Hamlet, Prince of Denmark." "Who knows?" she said. "Maybe you can't.
If you read the first page of one of my novels, I can guarantee that you will read the last one. This isn't just social commentary. This is also about writing good page-turners. I want people to keep reading.
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.
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.
I try not to read my own books just because I would rather read somebody else.
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 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."
Normally, when I read a script, it takes me two and a half hours. I usually put it down and come back to it. So, I know if I can read a script in one sitting, it's a fantastic script.
Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.
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 do feel that if it's not on the page, there's no hope of it getting to the stage. You really can't take a cat and turn it into a dog, or try and get lemons off an apple tree, or what have you. Sometimes there's this real naïveté that people possess, where they want you to infuse a scene with a certain quality, and it's like an apology. "I read the script, didn't you? What's the agenda here?"
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