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Scripts Quotes

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Scripts Quotes

“Truthfully, in the beginning [of MacGyver] this could have gone either way, and as it turned out there was a version that was done wrong, which I'm not even going to get into. It was a pretty good idea and I liked where it was going, but then we got a chance to restart with Peter Lenkov [as executive producer/showrunner], who brought his vision to it. I remember reading his pilot script and it was just so exciting that I started hopping around my room.”

“There is no question that, in 1980, Ronald Reagan had been portrayed as a war-monger, somebody who couldn't do anything off a script. And the one debate with President Jimmy Carter, he stood toe-to-toe and reassured people that he wasn't bound and determined to start World War III on the spot and could make a coherent statement.”

“You have this certain about of responsibility to play a fictitious character and you have a script that's guiding you and the other information of the custom department's choices, and the set department, "Where are you," and all those other pieces of information but you have to cull from your imagination the answer to all the unasked questions. And with a real person, there's someone to get that information from, perhaps.”

“Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.”

“Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly." And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.”

“When you're younger, you get scripts that you are too young for and now I'm getting scripts, which I think, "I'm too old for this character." They can always shift things around to make it work and make the ages work. But I'm definitely getting more complex and interesting roles and less what you would expect. So I can experiment more and have a bit more freedom when I'm putting things on tape.”

“I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.”

“I live in New York, and Clara lives in Recife. The character is Brazilian, and as I read the script, I felt like Kleber [Mendonca] had been spying on me in order to create this role [in Aquarius]. Clara and I have different backgrounds. I come from an intuitive world, and she's an academic, but when we got together, we really became one. There are many times when I'm watching the film where Clara will say something, and I will find myself agreeing with her. It was the first time that I had this weird sensation that the character I played is so me, but yet it's so her.”

“There were a couple of times, leading up to shooting [Ordinary World], where I was like, "Oh, my god, what did I get myself into? Hopefully, I don't ruin this guy's precious script." And then, after a couple of days of shooting, I started getting in the groove of it and it was really fun. I love being a rookie at stuff. It makes it feel vital. I love doing things I've never done before, and I love making stuff.”

“[Captain Fantastic] it's a great story. It's one of the better scripts I've read, ever, as far as being great from beginning to end. It handles a variety of characters. You have six children who all stand on their own, they're all individuals. And it touches on a very real issue, which is the lack of cohesion and communication in America right now.”

“I actually had that conversation with [Channel 4 Chief Creative Officer] Jay Hunt. We were at a bit of a crisis point. I'd written a totally different script - about war, basically - that got rejected at the last minute for various reasons. The whole of the series was in doubt. I said, "Well, there is one other idea ["National Anthem"]."”

“Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.”