A Quote by Marc Guggenheim
We're not militant, but there are certain things that are absolutely secret. There was a pilot printed on red paper, and I read everything on my iPad and have a scanner on my desk for these purposes. I scanned in the script, and red paper script scans in perfectly fine.
Related Quotes
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.
It always starts with a script. I like to have plenty of time to read something, and I always like to read a paper copy. I hate reading it on email. I sit down with a script, and want to see how it hits me. It's an instinctive process.
When I showed ‘Black and the Red III’ in Malmö, Sweden, it was a continuum - a band - all around the galleryseeing this huge space in the gallery in Malmö, I just took a deep breath and I put the paper around in a single band. Then I continued along, printing on the wall like a trompe l’oeil to reiterate the images in the work printed on paper that I had push-pinned to the wall. I literally took the rhythm and the images from ‘Black and the Red III’ and continued that on the wall.
If I decide to make a coat red in the show, it's not just red, I think: is it communist red? Is it cherry cordial? Is it ruby red? Or is it apple red? Or the big red balloon red?
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.
Usually, I read the script very often. I think that everything is hiding in the script.
If a good visionary wants to jump on board with that and I see their vision correctly and I like it and I like the script, I would absolutely do it but I have to read the script first.
I like "Rock, Paper, Scissors Two-Thirds." You know. "Rock breaks scissors." "These scissors are bent. They're destroyed. I can't cut stuff. So I lose." "Scissors cuts paper." "These are strips. This is not even paper. It's gonna take me forever to put this back together." "Paper covers rock." "Rock is fine. No structural damage to rock. Rock can break through paper at any point. Just say the word. Paper sucks." There should be "Rock, Dynamite with a Cutable Wick, Scissors."
I don't think I had a script on 'King Kong.' But usually you read a script and then you go and audition for it. It's rare when there's no script. I sort of like the latter better, because I'm more successful at 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.
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.
When I read the script for '90210,' I thought, 'Boy, this is very superficial,' and it was. I mean, the pilot was all about the glitz and the glamour of Beverly Hills, the obnoxious kids, and the fish-out-of-water story of Brenda and Brandon Walsh. I couldn't discern from that first script that the show would become very issue-oriented.
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.
To make a great film you need three things - the script, the script and the script.
When you read Chekhov, everything has an even gray tone. When you read 'Family Life', everything has an even white tone. It is almost like when you paint on paper, and you can see the paper through the paint.
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