Diana Penty Quotes

I look for scripts that give me a gut feeling that this is going to work.

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.

Every film is a crapshoot. It's a mystery when a movie comes together. I've never been able to figure it out. I don't know how I make my choices. The only thing you can do is know there's something about a character that you really want to experience.

At the end of the day, you have to sit with the scripts and decide where your heart is.

Whenever somebody comes to me with a script, I ask a question to myself - 'Why do I want to do the film?'

When you receive a script and it leaps out at you and it's breathing with its own heartbeat - I suppose when you read something like that it's not a choice of whether you do it or don't. It feels like it chooses you, so you just do it.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

I don't do any research. It's all about gut. Editing - it's always about gut.

I act with my gut instincts.

You don't make a film because the audience is ready for it. You make a film because you have questions that are in your gut.

I try to look at the whole thing and say 'yes' to the projects that I cannot stop thinking about. If I read a script and the subject stays with me - then that's when I want to go to work.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

I've always kind of done exactly what my instincts said.

Everything that I do is for sound goals. It comes from my gut. When I'm sitting in the studio, a mix isn't done till I feel it in my gut.

I read an interview with Mark Wahlberg, and he was like, 'I might read a script and love it, but it's all about the filmmaker.' I think that's a good lesson for me.

I live on my gut instinct.

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.

Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose.

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.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

The green-light meeting, when I first started at Paramount, would consist of maybe three or four of us in a room. Perhaps two or three of us would have read the script under discussion.

When it comes to the ratings, I don't know what the rating system is. So when it comes to me, I've learned, with the little experience that I have, that when I feel really good about a movie in the editing room, it works. And when I've felt like a movie wasn't working, it didn't work.