A Quote by Sonia Braga

When I wrote the script [of "Aquarius"], it seemed to hold people's interest. — © Sonia Braga
When I wrote the script [of "Aquarius"], it seemed to hold people's interest.
I didn't like the script [of Aquarius], I loved it.
I wrote the script of Patton. I had this very bizarre opening where he stands up in front of an American flag and gives this speech. Ultimately, I was fired. When the script was done, they hired another writer and that script was forgotten.
I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
The reaction I got from Sônia [Braga] in less than 48 hours after I sent her the script [Aquarius] was so genuine that it left me stunned. Often when you show people scripts, you get polite, absent-minded reactions, as well as exclamations of "What the f - k is this?".
Whenever I wrote fiction, people always seemed to think that what I wrote was true, that it was entirely autobiographical. And when I would write non-fiction, they often accused me of exaggeration and fictionalization.
Taylor Sheridan I think wrote a very good script. It reeked of authenticity. He seemed like a guy who knew what he was talking about and it turned out that Taylor's uncle is a Marshal, so he knew things from that side.
I don't intentionally try to find the scripts with unattractive characters, but I think that if a character is described in a script as heart-stoppingly beautiful, and there's nothing else said about her, it just doesn't hold a lot of interest for me.
The woman who wrote the movie [Ladies And Gentlemen, The Fabulous Stains], her name is Nancy Dowd. She's a wonderful writer. She wrote Coming Home. And when I read the script, at that time, I thought, "This movie is going to do for girls what Breaking Away did for boys." I thought it was going to be huge. It was a great script.
I've always known that if I recorded an album, it would come out, and people would enjoy it! Whereas if I wrote a movie script, chances are better than even that I'd just be another guy in L.A. with a movie script in his drawer.
I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.
With interest rates rising, gold doesn't pay an interest rate, but every other currency - it becomes not only less important to hold gold as an alternative, but more expensive to hold it as an insurance policy and so that will be a burden on the price of gold.
I got it into my head that I was going to be starring in movies that I wrote, so that's what I did. I stopped acting in all things, and I wrote my first script, which was optioned a week after I finished it.
I started writing when I was 26, so I don't even know what year that was. I wrote a script for me to star in. A friend of mine, who was an actor that I would compete against a lot, had written a script and was taking all these meetings. He just kept pushing me and was like, "You got to do it. You're going to love it!" He's a very successful screenwriter now. His name is Michael Bacall and he wrote 21 Jump Street, Project X, and Scott Pilgrim vs. the World. So it was a few factors.
I wrote a huge number of letters that spring: one a week to Naoko, several to Reiko, and several more to Midori. I wrote letters in the classroom, I wrote letters at my desk at home with Seagull in my lap, I wrote letters at empty tables during my breaks at the Italian restaurant. It was as if I were writing letters to hold together the pieces of my crumbling life.
Nelson McCormack on 'Killing Kennedy' was really terrific because I wrote the script, and he had some terrific ideas. We went over the script together, and I was with him on set. So it was a collaborative effort.
When I was a kid, I wrote to the BBC, and the producers sent me a huge package through the post with 'Doctor Who' scripts. I'd never even seen a script and couldn't believe that they actually wrote this stuff down. It sort of opened a door.
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