When you are shooting with a robot you can't improvise. You can't really. . . the script is kind of the script.
Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it. . " It's like before you get on the Titanic and you see a big hole. In process, it's too late.
I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director. . . . I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.
Sometimes the characters I find the most compelling are in independent movies. With independent scripts people can take more challenges.
I have boxes full of stuff. Most actors do have a trunk full of stuff, paintings or scripts. It never comes to anything.
My approach to acting is that I am totally intuitive. I read the script and I get it. If I don't get it, I can't do it.
I hate when I get a script and I can't see who the people are.
For me, it was the challenge of doing a movie that is in one location. Usually, there are a few scripts obviously always going around with stories that happen in one location.
I've never ever read a script. I really must read Macbeth, because I was in it once. I got a lot of laughs in that, I can tell you.
I can't read scripts any more because of the trouble with my eyes.
A lot of my time is spent watching films and reading scripts. And it can be all-consuming. And it's obviously something I'm fortunate that is both my work and my hobby. It's what I would naturally be doing anyway.
If I ever wrote a script myself, it would be strongly emotional material.
I read the script of [Woman Under the Influence ] 50 times. And I thought about it. And then I did it.
I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.
I read a lot of scripts. Most of 'em go to other actors.
A comic script is basically a love letter from you to your artist.
I regard myself as a beautiful musical instrument, and my role is to contribute that instrument to scripts worthy of it.
We're all clichés, all following scripts that have been written and played out long before we landed the role.
I actually had a chance to be in Delta Farce, but I couldn't do it because I read the script.