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I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.
Things have got to add up to 100 points. The script is part of it, the character is part of it, the people I'm working with is the third part of it - and any combination of the three has got to add up to 100 points.
It's a weird thing when you spend your life trying to find these great scripts and great parts. You are reading scripts, you are traveling the world, you are hassling your agent. You are trying to find that script.
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.
The guy that picked me up at the airport in 1985 when I was out in L.A. for my first audition was selling a script. I was a nobody coming off a plane to read for a new show.
If I'm on a roll, and I finish a script at 3:00, I'll start another at 3:02.
They put it on the page because it sounded good or it looked good or they read it in a book somewhere that this is how you structure a script or something, and they just don't get it. It's surprising.
Are Christians too stupid that we can't write a script, we can't film a movie OR we don't know how to act?
I truly believe that God brought this, Dorothy Day script to me, because for a long time up until I was in eight grade - I wanted to be a nun.
The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.
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.
The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
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.
I think a playwright realizes after he finishes working on the script that this is only the beginning. What will happen when it moves into three dimensions?
I cling to the fantasy that I could have done something more creative. Like actually writing a script, or writing a book. But the awful truth is that I... probably can't!
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.
With a film, you have to pare down and take stuff out and squish it all down into a 110 page script.
A script is not a piece of literature it's a process.
You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
I am going to have to stick to the script. If I muck around with the words it will defeat the object.
I won't work on anyone's else's script. I won't write for anyone else. I write my own stuff and make that when the time is right.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.
A. P. J. Abdul Kalam
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