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I've never had a written script.
In general, when moviemakers talk to scientists, they usually see them as a resource to solve particular technical problems or script problems for them. So, something like: what sort of weaponry would aliens be able to wield?
The best thing for me is, when I'm not working, is to be at home and to have a script or two scripts is better, and to be just walking around the house and just thinking about the lines.
Well if somebody's giving me a script, I'll consider it. But it's not something I'm chasing.
They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.
Francis Ford Coppola
I still take work if I think it's good. If I like the script, I'll do it. If I don't, I won't.
Ultimately, however, the script an actor enlivens is someone else's words.
A director should cast a person who fits into their script.
Making a movie like 'Felony' is hard work because you're really putting your own ideas on the screen. You can't hide behind some other person's script; you're saying, 'This is my brain, and I want you to know what I think'.'
I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.
When the children were little, I'd fly into L.A. for a specific work project, but then I'd leave again, and when I was home, I wouldn't even read a script.
When I was 16, I got 'Jamon, Jamon.' Of course, I had to lie about my age. And I had to lie to my parents about the content of the script.
'Safe' was a script that I read and flipped out for.
I respond to a part just intuitively when I read a script.
People regard CGI as a gimmick; they almost blame CGI for a bad story or a bad script. They talk about CGI as if it's responsible for a drop in standards.
When you're starting out, you know, you have to do something on a very limited budget. You're not going to be able to have great actors, and you're most likely not going to have a great script.
My experience is that's rare - that you have a script that is... what they call 'film-ready.'
I research the role, and if it's a literary character, I read the book, and if it's an historical figure, I research documents and biographies. If it's a fictional character, I work off the script.
It's very different when you're reading a script to when you're watching a movie for the first time.
A horrible script 99 percent of the time means a horrible movie. But if you start with a good script, odds are you're going to have a good movie.
A script is like a theory of a movie.
John C. Reilly
In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
There's no such thing as easy, but it's easier when a script is good.
Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.
The offers I get are for grandfathers, uncles - and they often die very quickly in the script.
Max von Sydow
A. P. J. Abdul Kalam
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