Top 1200 Script Quotes & Sayings

The 'My Mother the Car' script read like Neil Simon compared to the 'Gilligan's Island' script.

I'm getting more selective, the more I do. As an actor, you want to do a variety of things, but first and foremost, it's the script, the quality of the script and the part. If the script is great and it's a part that I believe and I believe the world, that's rarer than you think.

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.

If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script.

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.

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

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

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.

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.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

I tried to buy the script of 'Hancock.' I loved it. The script was far darker and edgier than the movie.

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.

A script writer usually manipulates his characters in accordance to the script.

It is not the script that defines a film. It is the execution of the script that counts.

The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.

It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.

When you are shooting with a robot you can't improvise. You can't really... the script is kind of the script.

It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.

When I get my script in hand, I make it a point to completely know my script well. It is something that comes automatically to me. That is my basic homework.

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 House Of Tomorrow' offered such a fantastic script. I couldn't believe that script - it was just so original and unique.

There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.

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 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.

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.

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.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

First, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.

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.

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?'

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.

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.

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

I'm not put off so much by first-time directors if the script is great. If the script isn't there, I'm not there.

I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.

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.

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

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

If I read the right script, if that script needs $5 million, if that script needs $50 million, I don't care. If I read a project that's beautiful, that I really want to make, whatever it needs, it needs.

I never work from the script. I get the script more or less.

A film is different than a script. The text of the script is what it is.

I'm sent a script. I read the script. If I love it, I want to do it. And that's it I don't care who's in it, how much money is behind it, really to an extent who's directing it.

On '24,' it says on the front page of your script: 'This script is for the production staff and cast. Please don't show it to anybody else.'

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 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 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.

When you write a script, you hope that people will give it life beyond the script.

A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.

When I write a script, I have all the old versions of the script on my laptop. They're saved as backups in case something goes horribly wrong.

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.

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.

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.

Usually, I read the script very often. I think that everything is hiding in the 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.

I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

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.

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.'

Be it the team or script, everything about 'Imaikkaa Nodigal' is special to me. The script is nothing like what I have done before.

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.

My favorite thing to do is rip the covers off a script when reading for writers to hire and make everybody read without names on the covers of the script. I can't tell you how many times my writers, women and men, will pick people of color and women much more often than they would with a cover on the script.