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The way you get your script to the right people is that you put it in an envelope. It's easy. The difficult bit is writing something that is so good people will take a punt on a brand new writer.
I wrote a script with my brother which ended up, somehow, on the Black List in 2008.
What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.
I read the script and decide if a particular character looks fun to play. I look for complexity and a sense of humor. Those are crucial, real things to life.
The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.
We shot in a place called Asheville, which is like beautiful, beautiful forests. And then part of it we shot all the reaping stuff, which was just crazy - because the reaping in the book and in the script is such an emotional thing for everyone. It really did feel like that when we were shooting it.
If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.
Modern American war is as easy to script as a B movie.
With a bad script and even the best cast, the most you can hope for is to turn a sow's ear into a silk purse.
When I read the script for Will & Grace in 1998, I knew I was the only guy for the part.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
We have the script, we have the actors, and we're trying to figure out what this is, and you don't know what it is. You have to be open to what it's going to become rather than have this thing that you're trying to get to, which is boring.
Yes, I am aware that I have become a caricature. I've thought about this. Conceptually, what I'd like to do is the equivalent of writing myself out of the script.
Everything is a rejection of you, not your product, or your script, or a cosmetic. It's you.
We had a script reading, and that's where we met J.K. Rowling, which was really exciting.
It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.
Sticking to my schedule, I've gotten over seven months ahead, which allowed me to write a 'Pearls Before Swine' movie script for the big screen.
I always get quite close to my script because I work quite hard on them.
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
If I'm on a roll, and I finish a script at 3:00, I'll start another at 3:02.
With a film, you have to pare down and take stuff out and squish it all down into a 110 page script.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.
I've been working on this feature script for Master Class, a play by Terrence McNally that won a lot of Tonys.
When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.
I really think that reading a whole script is kind of prying and neurotic, don't you?
Martin Luther King, Jr.
John F. Kennedy
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Avoid popularity; it has many snares, and no real benefit.
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