A Quote by Stan Lee

Usually, the biggest hang-up is the script. You could have a script done in six months that you love, or it could be like The Fantastic Four it's been almost 10 years. — © Stan Lee
Usually, the biggest hang-up is the script. You could have a script done in six months that you love, or it could be like The Fantastic Four it's been almost 10 years.
A German shepherd dog could walk in the office with a script in his mouth, and if that script was really good, they'd buy the script.
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.
In the past, I'd been sort of a fan of writing a coat hanger of a script, and something I could hang ideas off of.
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.
I've done a number of films. I've been around this. I think the biggest challenge is just getting the script right, the way that you want the script to be. It's really about capturing the complexity of emotions and creating the kind of characters that people will want to watch every week.
Primal Scream could be the biggest band in the world. They are fantastic when they make rock records - once every 10 years.
The last six months of the Bush administration lost four million jobs and the first six months of the Obama administration lost another four million before any initiatives of the president could take action.
Marvel is very secretive, so there was no script. About six months before production, they gave me some pages and it was from a cop movie. And then, six months later, I got a phone call saying, "Do you want to come do this?" [iron Man]
I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.
For the last four or five years, I had been in the position where I didn't have to take a pilot. I took this one because the script and the people were terrific. It never frightened me. As we were doing the pilot, I could tell that it was working.
It's always once the script's done in the first two years if it doesn't get going somehow or another, I've never had an old script that someone's made later on.
'The House Of Tomorrow' offered such a fantastic script. I couldn't believe that script - it was just so original and unique.
It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.
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.
I was waiting for a right script and then I got a script which I could write and tell the story the way I want to. And that film is 'Antim.'
The only way a first-time filmmaker could have convinced or can convince a producer is if he has a fantastic script.
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