A Quote by Jamey Sheridan

I'm just after the best script I can get. — © Jamey Sheridan
I'm just after the best script I can get.

Quote Topics

After 'Radio Flyer,' to this day, every family-oriented script or script with kid actors comes across my desk. That's just Hollywood: you get pigeonholed, and it's both a blessing and a curse, but you live with it.
We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.
I remember the first script I wrote after 'Swingers' was a Western, and I just couldn't get it made.
I love TV, don't get me wrong. But with film, you're just banging out this one product, and you're not waiting on another script. You have your script. It's great in that way. It's as close to theater as you can get.
I've always wanted to do non-comedies, I've always done dramas, comedies, music, and I always like to bop around and do different things. I'm looking for something a bit tougher, more muscle mass, something small, but the thing is, I get all the best comedy scripts, I don't get all the best drama scripts. So I'll just go with what's the best script.
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.
After I write a sequence, I just open the script and then sit at the piano keyboard and "play" the script. (And because I also draw and paint, sometimes I sketch out the action as well.)
I'd always intended to make 'Far North' straight after 'The Warrior.' We had the rights to the short story, the script was in development, and I knew where I wanted to shoot it. It just took a long time getting the script together and raising the finance.
I love TV, don't get me wrong. But with film, you're just banging out this one product and you're not waiting on another script. You have your script. It's great, in that way.
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 it's very rare, as an actor, that you get to a script, or an idea of a script, and you go, "Oh, I just have to do that!" It fell into place very quickly.
The best part about live shows is you have a script, and you throw it out after the first five minutes.
If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.
As a writer myself, my job has very often been to also write on the job. So you get the script and a vague idea of how the scene might work, and you then add funny words or change the script. I'm not the world's best writer or the world's best actor, but I can do that thing where I can fix - or ruin - fix-slash-ruin, add quirk, add value.
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.
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