Top 1200 Good Script Quotes & Sayings

I feel I do not have script sense. Like Kartik Aaryan has a very good script sense.

TV feels quite constipated, and the thing I find particularly difficult is the branding of the channels where it's not 'Is it a good script?' but 'Is it a BBC2 script?'

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 believe that a good comic script can succeed despite being drawn badly, but that a bad script can't be saved by good art. Of course, great writing and great illustration makes for a great comic 100 percent of the time.

Love every role to be new, and I always like to bring a freshness to every character I play, but that comes down to the script. So, it's important that it's a good script with good, truthful characters and truthful subjects.

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.'

I would take a bad script and a good director any day against a good script and a bad director.

I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

I'm not one of these actors who can make a bad script good. Some actors, a script can be terrible, and they can bring something to it and make it really special. I can't.

What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.

Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.

I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.

If you get a bad script, then you start expending energy trying to make a silk purse of a sow's ear. When the script's as good as those on 'Game of Thrones,' say, I don't think there was a single occasion where any of us thought there was a bad scene.

It's much harder to act in a bad film than in a good one. A terrible script makes for very difficult acting. You can win an Academy Award for some of the easiest acting in your career, made possible by a brilliant 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.

[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.

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.

Script is the most important thing and if the script is good, then whatever role you are doing, it's fine.

It's not about the script: it's about who the director is and who the other people in the cast are. Because you can look at a great script and execute it in a very sophomoric way, and you can look at an OK script, and you can execute it in a very sophisticated way and come out with something really good.

What I look for in a script is the plot point and whether they're strong, obviously, or not, whether the characters are rich or not, and if I can do justice to the character or not. Some movies you look at and the script is so bad that no one can do anything with the script.

Acting in particular is a fun job when you have a good script. I don't know about acting when you don't have a great script. I'm gonna say that's not a great job, it's kind of a dumb job. But when you have a good part in a good script, it's the best job, in a way.

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.

The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.

With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.

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.

At the same time, reading an action script... It makes me wonder. Was The Matrix a good script? I don't know.

I always prefer a good script, be it a movie or drama script.

["Where the Buffalo Roam" is] horrible pile of crap. [Bill] Murray did a good job. But it was a bad script. You can't beat a bad script. It was just a horrible movie. A cartoon. But Bill Murray did a good job. We actually wrote and shot several different endings and beginnings and they all got cut out in the end. It was disappointing.

When you finish reading a script and think it is good but have reservations about a kissing scene, it means that you haven't understood the script completely.

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.

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.

A horrible script 99 percent of the time means a horrible movie. But if you start with a good script, odds are you're going to have a good movie.

My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!

When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.

To make a great film you need three things - the script, the script and the script.

A box-office number is good for a producer and the industry to keep the turnover game on, but as an actor, I give importance to script. I will turn down a script, even if it guarantees Rs. 100 crore, when I'm not convinced with 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.

Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late.

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.

When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.

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.'

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 think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

Finding one good script is a huge challenge. So I do a film whose script comes and grabs me. Once I finish that, I look forward to the next movie.

It's hard for me to find a script that's perfectly suited to me, so even if it's a good script, I'll still have to work on it with someone and shape it, making it the film that I want to make. So in that respect, I prefer to do the stuff that I've generated anyway.

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.

If it's a good script I'll do it. And if it's a bad script, and they pay me enough, I'll do it.

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.

Man, I had a good time working on 'Grown Ups 2.' First of all, when I read the script, it is hands-down the funniest script I've ever read. It's laugh-out-loud funny.

With a terrible script you hustle and try to make it better. But with a good script it can be trouble because you rest on your laurels, so to speak, you think it's going to translate easily.

For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.

We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.

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.

When you have a good script you're almost in more trouble than when you have a terrible script.

When I first heard the 'Urumi' script, I was surprised, shocked, and excited. It was a strong script with a reference to the past. It had fact mixed with fiction. To incorporate facts into a film and introduce fictional characters was interesting. I loved the script.

If the script is not so good and it is a great director you're more likely to do it. But generally speaking, my passion for a project starts or stops with the quality of the script.

There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.