A Quote by J. K. Simmons

For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.
A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do.
You make a decision whether you just work on the script and believe in every moment and pick out every moment, or if you sit down and memorize lines. Once you really dig into a script, learning lines becomes almost second nature.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good... I remember thinking, 'Oh, this script is too good. They'll never give it to me.'
The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good I remember thinking, 'Oh, this script is too good. They'll never give it to me.'
At the same time, reading an action script... It makes me wonder. Was The Matrix a good script? I don't know.
I remembered getting the script for the auditions [of Aladdin], I had asked someone there if improvs were allowed, and he said everyone is sticking to the script. I said to myself that they are either going to love me or hate me. I was crossing out lines and throwing in my own lines. I went into the room and started doing things. They were like, "This boy is nuts! We should keep him." That's how it all came about.
I was really proud to be in that show. I will never forget. I got the script to 'Millie,' and I'm flipping through the script and saying, 'Boy, I have some lines... I have a big song.' I was 25 years old and had never been on Broadway before. I got to the end of the script, and I was really nervous and excited. I realized I had a lot to do.
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.
With a terrible script you hustle and try to make it better. But with a good script it can be trouble because you rest on your laurels, so to speak, you think it's going to translate easily.
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.
I'm quite severely dyslexic so I struggle with acting in certain ways. I always have to put in triple the amount of effort, which would always frustrate me a lot. I suppose that some people can just look at a script once and know it. That's not me. I really have to spend a bit of time with the lines. But it's my job and I've got better and better at it. If you're learning a lot, things start going quicker. Doing the lines with repetition and you just get it in your head somehow.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
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.
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
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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