Quotes on Script

I believe that a good comic script can succeed despite being drawn badly, but that a bad script can't be saved by good art. Of course, great writing and great illustration makes for a great comic 100 percent of the time.

When the script is finished, and you're sitting around at a table read, and all the actors are reading the words that you've written, and you're hearing it out loud for the first time, that is always, every single time, no matter what, a magical process.

You see a script, and you say, 'Oh, I can play the heck out of that,' talk to your agent, and he says they don't want to see you. That's heartbreaking.

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?

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.

Wanting to be liked means being a supporting character in your own life, using the cues of the actors around you to determine your next line rather than your own script. It means that your self-worth will always be tied to what someone else thinks about you, forever out of your control.

If I'm on a roll, and I finish a script at 3:00, I'll start another at 3:02.

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.

Reading the script, I started feeling very deeply bad for Freddie. Between his friends, his partners, and his woman, he was catching a hard time. 'Freddie's Dead' came to me immediately.

Producing is a way of finding a great script that nobody's making, and believing in it, and doing what you can to get it made. It lets you work with your friends, people you really love to do something with.

When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.

Please explain to me what being an icon is. How do you define it? I haven't been given a script. I don't know what the dialogues of an icon are.

Sometimes you take a job for the money, sometimes you take it for the location, sometimes you take it for the script; there are just a number of reasons, and ultimately what you see is the whole landscape of it. But I can tell you from behind the scenes - that's what it is, as an actor.

I am very into lyrics. I start with what the words are saying, what the storyline is saying, like a good script. It should really capture me, do something for me. If I don't get it, it's not going to move people, and if it's not going to move people, it's not going to happen.

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.

We have our own script. We have our own calendar. We represent the greatness of Africa's past. We also represent the worst of Africa's present, in terms of poverty. It is the best and the worst of African reality.

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.