A Quote by Peter Falk

There's a bit of a problem. The script that I like, the network doesn't like. The script that they like, I don't like. — © Peter Falk
There's a bit of a problem. The script that I like, the network doesn't like. The script that they like, I don't like.
Well, you know, I never want to feel like I have a set plan of what I'm supposed to do. I kind of like to go script by script, and if I like the character and like the story that's why I want to do a movie.
I love the script and I just thought it was a great role. Like I say, it's like this - the script is like this sad, funny, desperate love song to the lost American man.
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 will admit I am a little bit of a line fudger. I will change the line a bit to make it feel better in my mouth. That is something they'll allow you to do on 'Veep' unless it's a particular joke where they're like, 'No, it just sounds better like this.' But with a lot of network shows, the script is law; you cannot change it all.
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.
Memorizing a playbook is like memorizing a script. When they change the script at the last minute it's like changing a play in a game.
Lego was our fourth film, because we did two Cloudys, so yeah there's a little bit of shorthand that's involved and then you can anticipate things- because for me it's like, I get a script for a movie and I go, "Wow that's a pretty good script", then you sign on and a couple months later they show you the first cut and you're like, "Whoa, how did that happen?"
I mark a script like an exam, and I try not to do anything under 50 per cent. Similarly with the part. And also film is a peculiar thing, parts don't necessarily read in script form anything like as well as they can do when it comes to materialising.
I kind of went into soap opera with 'General Hospital' in the '80s. It's like theater because every day it's a new script, which really doesn't have a beginning, middle or end like a play or a movie script. So you have to be on your toes and bring it every day. And you have to be spontaneous, which is really how I like to work.
When you hear Treat's [ Williams] doing a movie, or you'd like to work with Treat again, you hope the script is good. And then you find out the script is good. You go and you do it for the fun of it. And you feel like you can be proud of something.
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.
In France now, there's no problem with official censorship. Once your movie is finished, you always are R-rated. My movie is just R-rated in France. But when you meet French producers with a script like mine, they behave like the most fragile chickens in the world. They just tell you "Oh, no. You should cut this. You should cut that." And at the end you have been totally censored on the synopsis, and then on the script.
The 'My Mother the Car' script read like Neil Simon compared to the 'Gilligan's Island' script.
A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.
I can't really iterate what I look for in a script. It's a very subjective thing. Like an organic attachment you have with the script and characters.
It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.
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