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- Page 11
Oh, I had an idea for a pilot of my own at the time, and then Carl sent me about eight scripts and simply I threw my idea out the window because the writing was just so good.
Dick Van Dyke
I'm not going to comment about potential jobs in the future because that's a rabbit hole to go down and get caught up in, but all I'll say is I'll go where the good scripts are.
I read a lot of scripts and so many are clearly a knockoff of one familiar genre or another.
The reason I turn down 99% of a hundred, I mean a thousand, scripts is because romantic comedies are often very romantic but seldom very funny.
So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.
Sometimes the characters I find the most compelling are in independent movies. With independent scripts people can take more challenges.
The moment you say, 'I want to do a role,' the story suffers. I don't set priorities in terms of roles or scripts.
In most scripts, one or two characters have a lot of colors.
I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.
Writing is getting killed by too many chefs. Back in the Bogart days, it started with great scripts. You had a writer, and he wrote a script, and that was your movie. I think that's been watered down a bit lately.
If the scripts are not good, I'll tell somebody, 'This isn't good.'
We all sit in front of our mics and our scripts lay on music stands. Then the silliness begins!
I've been so lucky - I worked with Jason Reitman twice, who has always been a really strong advocate for my voice, and has always really respected the scripts that I've brought him and is just the coolest.
I do read some of the scripts from America and, even though the themes or subject of the film is very interesting, and some of the scenes are very interesting, there is a tendency that they have to explain everything. There will be no dilemma.
Sometimes I feel like doing smaller budget stuff. When I did 'Young Adam', for instance, I'd come out of 'Black Hawk Down' and 'The Island', and I really wanted to be on a small film set. I wanted to be on something intimate and small again, and then 'Young Adam' cropped up in a pile of scripts I was sent.
As a kid, I was just writing scripts and taking whatever film classes I could in college.
Before 'Whiplash,' I'd had a string of failed scripts. I'd pour my blood, sweat and tears into them, and no one would like them.
I still read scripts, and if something great comes along, that's great... but this is my day job. The Row is where I go every day.
We've read scripts, and I think right now we are just focusing in on school.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads... and the pictures were so vivid.
I've received some English-speaking scripts, but I was not interested in them.
India needs better producers than screenwriters. No producer wants to invest in out-of-the way scripts.
Once, I had so many scripts coming to me that I could hardly read them all.
My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
When I see an image in my head that compels me, where there's this mystery about what's going to happen next or could happen next, I'll be intrigued. There are so many scripts that you read, and you know exactly what's going to happen, and there aren't too many where you can't tell within the first 20 pages where it's going.
A. P. J. Abdul Kalam
John F. Kennedy
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