A Quote by Francis Ford Coppola

I wrote the script of Patton. I had this very bizarre opening where he stands up in front of an American flag and gives this speech. Ultimately, I was fired. When the script was done, they hired another writer and that script was forgotten.
Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.
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.
It's always once the script's done in the first two years if it doesn't get going somehow or another, I've never had an old script that someone's made later on.
I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at it.
It's a shame, but every time I get something scientific in the script, I read up to find out what I'm talking about - but then I'm on to the next script and it's forgotten.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.
When I first heard the 'Urumi' script, I was surprised, shocked, and excited. It was a strong script with a reference to the past. It had fact mixed with fiction. To incorporate facts into a film and introduce fictional characters was interesting. I loved the script.
A German shepherd dog could walk in the office with a script in his mouth, and if that script was really good, they'd buy the script.
To make a great film you need three things - the script, the script and the script.
Nelson McCormack on 'Killing Kennedy' was really terrific because I wrote the script, and he had some terrific ideas. We went over the script together, and I was with him on set. So it was a collaborative effort.
A script writer usually manipulates his characters in accordance to the script.
I had a moment where I wrote a movie script, and it was my first movie job, and I was very excited to do it, and my only goal was really not to get fired off of it.
Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.
The woman who wrote the movie [Ladies And Gentlemen, The Fabulous Stains], her name is Nancy Dowd. She's a wonderful writer. She wrote Coming Home. And when I read the script, at that time, I thought, "This movie is going to do for girls what Breaking Away did for boys." I thought it was going to be huge. It was a great script.
On '24,' it says on the front page of your script: 'This script is for the production staff and cast. Please don't show it to anybody else.'
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