A Quote by J. K. Simmons

When I read the script and saw the jazz music setting, and when I read the name of the filmmaker was Damien Chazelle, I immediately got this mental image of Antoine Fuqua. — © J. K. Simmons
When I read the script and saw the jazz music setting, and when I read the name of the filmmaker was Damien Chazelle, I immediately got this mental image of Antoine Fuqua.
I screen tested for Training Day many years ago, which was David Ayer's script with Antoine Fuqua directing.
When I'd read the script [The Man], [ Eugene Levy] that's who I'd seen in my mind. When I ran into him, I said to him, 'I read the script. You'd be great.' He had no idea what I was talking about. Then, we saw each other again in London. He'd read it and was enthused about it.
I read an interview with Mark Wahlberg, and he was like, ‘I might read a script and love it, but it’s all about the filmmaker.’ I think that’s a good lesson for me.
Read, read, read, read, read, read, read, read, read, read, read, read, read...if you don't read, you will never be a filmmaker.
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.
A lot of the time with jobs that I've booked, immediately I'll read the breakdown, or I'll read the script, and I'm like, 'Oh I'd love to do this, but I'm completely wrong for it,' and they tend to be the jobs that I book.
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've got an awful memory, and I can't read or write, but you can read me a script once or twice, and I've got it.
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.
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.
When I read [the script] and saw that it was my fanboy wet dream of an Avengers script and that [Agent] Coulson was a big part of it, that was the great day for me. I just drove around the streets with the script in the other seat, giggling.
I was from my little perch in a prep school I saw the civil rights movement and it was defining the moral dimensions of the time and I was drawn to it and I read James Baldwin and read Invisible Man and these were my touch points. But it was when I got to Michigan and saw a bigger world, a real world, that I got involved.
Read. Read. Read. Read. Read great books. Read poetry, history, biography. Read the novels that have stood the test of time. And read closely.
I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you.
The director, Antoine Fuqua, relies on small details, which anchor the vigilante-as-saint myth in at least a minimal degree of reality.
Trying to get somebody to read your script and you're a musician? That's the last person whose script you're gonna read!
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