I have a stack of scripts that I've read - I'm in the lucky position where I get offered things - but I haven't wanted to direct many of them.
Yeah, I mean I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's like an action flick with a great director then it's like 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director. I don't know if that's the trajectory I want to take with what I'm doing.
With scripts I've always looked at them and thought about kids, you know? Thought about the world and the impact... I won't do nudity and I never felt comfortable with that whole idea or things with huge sexual content - not my thing.
Our characters were antiseptic but we weren't. And if you remember what we did on BATMAN, as the scripts were written very funny, we played them very straight.
Ever since the movie premiered at Cannes, I've had a sudden surge of scripts and interest.
There hasn't been anyone with whom I can discuss my scripts. Even when the film is done, there is no one I can show it to who gives his sincere opinion. There is silence.
I used to be a rabid reader, but now it's scripts or nothing - network television is quite relentless, and you can't drop the ball.
And I find it very easy to memorize the scripts, which are so close to conversations my husband and I have.
Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.
I never examined what I did in any great detail because I thought it would spoil things. I never read the scripts at all carefully, and never wanted to know what was going on, because I felt that being a benevolent alien that's the way it should be.
When you go to Marvel, they lock you in a room with the scripts; they really are that secretive.
I've written a couple of scripts. Actually, a pilot. I'm not sure I'm allowed to say, but it's a comedy about three young men in New York City, one of whom may or may not be a romantic like me.
I would say 90 percent of the scripts that show up on my door are women who have had lots of plastic surgery that are married to rich men - sort of a trophy wife.
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
I've been reading scripts where they've been doing a lot of singing now, but within the dark, realistic story line. I would love, love, love, love to do that. But not a musical on Broadway, I don't have that kind of energy or stamina.
I don't have a stack of scripts.
In most scripts, one or two characters have a lot of colors.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.
When you're shooting a network television show it inevitably starts airing a few episodes in, and depending on the ratings and the response from the public, you find yourself tweaking your performance or the scripts go in a different direction.
It's hard to find scripts that know what they are from page one to page 115.
There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.
If you are a certain kind of hands-on learner and have been in a writers room and know how scripts get made, and you know what pre-production is, then mostly it's making sure the actors get what they need, and you are providing creative oversight while allowing room for everyone else to own the material, too.
I never turn down scripts without good reason. If I did, I would probably never work.
I don't get a lot of romantic comedy scripts.
When I'm not acting, I'm writing, building an inventory of scripts. Even if they sit on the shelf, I just keep stacking them up.
You have to read scripts and audition and develop relationships. It takes a long time to develop a body of work but over the last 25 years I guess I've done that many movies. In hindsight it may seem effortless, but there's a lot of work that goes into it.
I've been fortunate. I don't pick scripts. Scripts pick me.
I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.
When I'm working on a movie, I'm in my trailer playing guitar. And then on the road, I read scripts and think of... it just keeps both fires burning. I kind of need both.
I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.
I can take scripts directly to actors. Agents don't like to hear that.
I have enjoyed writing my own stuff, and it's been a privilege to be able to scrap some money together to be able to make films from my own scripts.
Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.
My dad was a football player - a soccer player - for Manchester United, and I loved playing football, but I also happened to be the guy in class who was pretty good at sight reading. My teacher gave me scripts, and I was very comfortable.
It is rare that you read scripts that genuinely move you and make you feel that, regardless of the commercial possibilities, you have to make the film.
