A Quote by Joy Mathew

I was really surprised to see how critical the Malayali audiences are. It is really overwhelming that people genuinely want good scripts and do not miss a chance to applaud good scripts.
I didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.
It's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
So I think there's a lot of people who are really interested to see how good I really am, because they know I'm good, but they're not really sure how good. They want to see that, and there's definitely interest in that, but because of some other people's shortsightedness, maybe it never really happens.
Different kind of cinema is being created, people are coming up with different kind of scripts, they are able to come up with scripts that work with the audiences and also scripts which will have something to say to the audience, which is a heart-warming thing.
I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.
I don't really want to just play the girlfriend or the love interest. I get so many scripts like that, and - not to moan, because I'm really fortunate - but I just look at those scripts, and my heart sinks a little bit because I think there's so much more to us than that.
I have been sent three or four scripts for television series, but there wasn't anything I really wanted to do. I want to tell a good story, whether it's a TV show, a movie, whatever. That's really my No. 1 criteria.
I see so few scripts just because, for whatever reason, there just aren't that many good scripts with a young, teenaged girl. So it's always been sporadic. People don't know what to do when writing a story with teens that takes place now - they think you have to make a bunch of references to Facebook.
I write scripts, I read scripts, I meet people who chat about their scripts. So honestly, I don't feel bad if I don't act in a film, as long as people are making great films.
Just besides how smart Aaron Sorkin stuff is, really, is how visceral it is, how sensual it is. Not sexual, sensual. Always tactile. When you read his scripts, the scripts read fast and the words almost jump off the page.
You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.
I wrote lots of scripts that never got made and they were terrible. I thought they were good at the time. You can't write two scripts and expect your career to take off. Keep writing. Be you. Be original. A lot of people go for a genre, which is fine if you can do that really well, but we all have such layered histories. We all come from a unique background. Write about your past, write about you. Or make stuff up, but make it about something that really matters.
Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.
Lots of scripts are written and not made, even scripts that people want to make.
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