A Quote by Woody Allen
No one ever wants the whole script. I give the whole script to people who require the whole script but to those people who don't require the whole script I don't give it to them and no one cares. They're relieved not to have to read extra pages that they're not in.
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The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good I remember thinking, 'Oh, this script is too good. They'll never give it to me.'
The script for 'Infamous' was so poised between tragedy and comedy. It's a dream part. One reads those scripts with a sense of melancholia. When you read a script that good... I remember thinking, 'Oh, this script is too good. They'll never give it to me.'
If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
Sometimes I will read the whole script just to see what my character is doing, but I won't touch a script that I'm not in because it's just so much more exciting as a fan to me to watch the show as it's happening.
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 wish I was one of those people who could write script after script and pages and pages. I can only aspire to do that.
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.
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.
When you write a script, you hope that people will give it life beyond the script.
At MGM there was a script cage in the basement where they’d show rushes. And I thought to myself, “How do I get into the script cage and find out what my future is?” I climbed into the script cage one night and spent the whole night in there. I saw the bowels of MGM. I saw the studio scripts that the producers had seen; the writers had just handed them in. And I started thinking this is a chance to pick my own roles.
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.
I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.
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.
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.
I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do.
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