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Scripts Quotes

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Scripts Quotes

“I read the script [of Dirk Gently's Holistic Detective Agency] and went, "I haven't read anything this good, in a long time." I thought it was absolutely brilliant. The dialogue is so sparkling, smart and witty. You also have these insane, crazy characters, like energy sucking vampires and holistic assassins. It's all completely weird.”

“It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do.”

“I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."”

“I would go to trials a lot in Boston, as best I could. And it's incredible that, like, lawyers that had a good case weren't dramatic at all. Lawyers that had a horrible case would sing and dance and do whatever it took to convince the jury or the judge that this guy was innocent. So that was a cool thing to see because that made me believe that what the script [of From The Hip] was doing was totally believable. Now, maybe not ordinary. But it could happen.”

“I'll wait to see what the film [The Lobster] is, but it's set in a contemporary world, in America, there are hospitals and diners, parks, things that we will recognize and experienced ourselves but yet there's this similar kind of uneasiness through all the interactions and all the things that take place. It was unnerving reading the script. I kind of felt nauseous after reading it.”

“The woman who wrote the movie [Ladies And Gentlemen, The Fabulous Stains], her name is Nancy Dowd. She's a wonderful writer. She wrote Coming Home. And when I read the script, at that time, I thought, "This movie is going to do for girls what Breaking Away did for boys." I thought it was going to be huge. It was a great script.”

“Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.”

“It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].”

“I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?”

“I remember my very first encounter with Japan. At that time, I was Deputy Mayor of St Petersburg. Out of nowhere, Japan's Consul General in St Petersburg came to my office and said Japan's Ministry of Foreign Affairs wanted to invite me to Japan. I was very surprised because I had nothing to do with Japan except being a judoka. This was an opportunity to visit Tokyo and a couple of other cities. And, you know, a capital is a capital everywhere: there is the official script and certain protocol. It is always easier to talk in the provinces, the conversation is more natural.”

“If you have things or are involved with things that turn on, it's going to have code. And there are so many people - let's pick on the historians - even as a historian, let's say I ended up going the road of being a historian, just knowing some basic scripts, any kind of automation would have made me a 10 times better historian because I wouldn't have to sit there changing every file name to "1234" and then "12345." It can have a transformative value.”

“In France now, there's no problem with official censorship. Once your movie is finished, you always are R-rated. My movie is just R-rated in France. But when you meet French producers with a script like mine, they behave like the most fragile chickens in the world. They just tell you "Oh, no. You should cut this. You should cut that." And at the end you have been totally censored on the synopsis, and then on the script.”