A Quote by George Lucas
The script is what you`ve dreamed up - this is what it should be. The film is what you end up with.
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In the back of my mind. I always knew WWE was where I should be and where I would end up. Or where I could end up. Where I deep-down wanted to end up.
When you cut your life into a film - 90-some minutes of film - you end up taking snapshots and vignettes of the highlights of it - marriage, divorce, death, success, fame, loss. The up and the down and the up again.
My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
I never knew where I was going to end up when I started film. I didn't start film to be famous. Of course, it's a public medium, and of course we chose a public medium because we like people to pay attention to the work that we're doing. But I didn't know what I was going to end up.
When I got the script for Thelma & Louise, when I met with the director, Ridley Scott, I said, "I don't want to do a revenge film. I'm not interested in doing that moment in the script after they shoot the truck, where it says they jump up and down and they're real happy about it".
Really, I scolded myself, you should have known that you'd end up in a stone dungeon with no facilities. That's how these things always end up, isn't it?
The poet dreams of the classroom I dreamed I stood up in class And I said aloud: Teacher, Why is algebra important? Sit down, he said. Then I dreamed I stood up And I said: Teacher, I’m weary of the turkeys That we have to draw every fall. May I draw a fox instead? Sit down, he said. Then I dreamed I stood up once more and said: Teacher, My heart is falling asleep And it wants to wake up. It needs to be outside. Sit down, he said.
When you sign up to a film, you sign up to everything that's in the script. I really believe in that.
Usually we have pick-up shots to film after all the main work is done; sometimes we even do them after our wrap party. Just like when you're packing up and moving, it's the little things that end up taking the most time, and there is no romance in the clean up.
Sometimes you wake up with mini panic attacks where you feel like 'Oh my God! I don't have a film right now! Should I just do something that comes my way because I don't have another film?' But I feel at the end of the day, your gut takes over.
In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.
I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."
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.'
There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
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