William H. Macy Quotes

I'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.

Reading scripts is actually quite a relaxing part of the job. Strangely relaxing. This is a whole different ball game.

The secret to speed-reading is moving your lips faster.

A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.

I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.

Personally, I read a lot of scripts.

Reading scripts or commercial copy isn't a problem for me, so I can really focus on the acting instead of it being secondary.

When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.

I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.

When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.

When you read a script, you get a feeling from it.

Sometimes reading scripts is terrible.

I'm terrible at reading scripts. I love to read, and I hate reading scripts.

I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.

Obviously, if Woody Allen calls and says he wants you to read a script, of course you read it.

I've received some English-speaking scripts, but I was not interested in them.

Normally, when I read a script, I read 30 pages, and then go have a cup of tea and come back. And then, I read 20 pages and go make a phone call, and then go back to it.

Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.

The only time you actually are a spectator of your own work is the day you read the script.

I do think the first time you read a script, that gut response is very important, and that probably plants a seed that continues to blossom throughout the whole experience.

I respond to a part just intuitively when I read a script.

Usually, if you read a script by somebody else and there's a dense page of stage directions, people just skip through it or speed read it.

I'm not accustomed to doing films without seeing the script.

You'll read a script, and it'll grab me, or it won't.

Network cable reads are always kind of stressful because it's the first time everyone's read through it out loud.