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It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.
To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.
Give Obama a script he has made his own, and he is the motivational speaker to end all speakers. Tony Robbins cloned with Honest Abe.
Being the offspring of English teachers is a mixed blessing. When the film star says to you, on the air, 'It was a perfect script for she and I,' inside your head you hear, in the sarcastic voice of your late father, 'Perfect for she, eh? And perfect for I, also?'
To be honest, I never went to school for acting, and I never learned to break down a script. I took acting classes my whole life, but they never taught me anything about acting. They just taught me about myself.
Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.
The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.
I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.
As a teenager, in my songbook, I used to script what my lighting would be like. I used to dance in my roo;, it was like putting myself in a trance, and making myself feel good about things, almost like a private ceremony of begging people to like you.
When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'
The difference between a movie star and a movie actor is this - a movie star will say, 'How can I change the script to suit me?' and a movie actor will say. 'How can I change me to suit the script?'
With a terrible script you hustle and try to make it better. But with a good script it can be trouble because you rest on your laurels, so to speak, you think it's going to translate easily.
Robert Downey, Jr.
I'd love to say I made the smart decision of picking projects that became hits, but with 'The Good Wife,' I read the script and something inside me said, 'I love this, I want to do this.'
It's funny. When I saw the script in my inbox and it said 'Sparkle,' I thought, 'For real? It's really called 'Sparkle?' I was wondering, too, how does 'Jordin Sparks as Sparkle' sound?
The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.
They're naughty, all those writers - they mess around with people. I know James Gandolfini got a bit fed up on 'The Sopranos': if he said anything in front of a writer, told them a story from his life, it could make its way into the script.
I have always believed that chemistry can't be created between two people. You either have it or you don't. The script can only enhance it.
I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.
How I envy writers who can work on aeroplanes or in hotel rooms. On the run I can produce an article or a book review, or even a film script, but for fiction I must have my own desk, my own wall with my own postcards pinned to it, and my own window not to look out of.
The script is the coloring book that you're given, and your job is to figure out how to color it in. And also when and where to color outside the lines.
I have a background in theater. At the time I read 'The Loved Ones' script, I was playing Catherine the Great of Russia onstage. Straight after that, I played Stella in 'A Streetcar Named Desire' and Isabella in 'Measure for Measure.'
I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
They are just really stupid people in Hollywood. You write them a script, and they say they love it, they absolutely love it. Then they say, 'But doesn't it need a small dog, and an Eskimo, and shouldn't it be set in New Guinea?' And you say, 'But it is a sophisticated romantic comedy set in Paris.'
P. J. O'Rourke
'Unforgiven' is probably an example of a script that I liked right away but thought, 'This is great, but I'd like to do this when I'm older.' So I stuck it in the drawer for ten years and then took it out.
A. P. J. Abdul Kalam
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