Colin Hanks Quotes

You can tell if you're going to be into a script within the first five or ten pages - if I'm not completely engaged by page 20, I just have to give up on it.

I try to read everything that's sent me - play scripts, movie scripts - but I've had to make a rule. If the author hasn't grabbed me by Page 25, the piece goes back with a note of apology.

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.

My easiest judgment for a script is 'do I want to keep reading it?'

It so depends on each script, because you can say... I always thought I wouldn't have wanted to do something that was kind of like as big and commercial as 'The Dark is Rising,' but I really liked the script. I thought it was really clever.

Normally, when I read a script, it takes me two and a half hours. I usually put it down and come back to it. So, I know if I can read a script in one sitting, it's a fantastic script.

I don't write anything off without reading a script, and if it's a good one, I'll consider it, whether it's for $20 or a million dollars.

I'm the slowest reader in the world, because I perform it all in my head.

I can now tell from the envelope whether or not it is a good script.

I'm a slow reader.

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.

I think first impressions are important when you pick up a script.

One trouble with developing speed reading skills is that by the time you realize a book is boring you've already finished it.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

It doesn't help anybody to put out a bad script.

I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.

I find that when you read a script, or rewrite something, or look at something that's been gone over, you can tell, like rings on a tree, by how bad it is, how long it's been in development.

Usually when you get a script from actors, you don't have high expectations.

Oftentimes you read scripts, and you get to one and you think, 'OK, is this good, or is this just better than all the other ones that I have been reading?'

Sometimes I read a really good script, and I just know that it's not a good fit.

Most of the scripts that land on my desk are stuff you read and go, 'Is someone really gonna make this?'

I read a lot of script. In my opinion, most of them aren't good or aren't about people.

I'll read, like, ten scripts, and then sometimes if I'm lucky, there will be two or three scripts that I like, and sometimes they'll all be dramas, or they'll all be comedies, or there will be two dramas and a comedy, and then I'll go for whatever. If I have to audition, I'll audition. If it's an offer, great.

I read the script for 'Somnia' when I was filming 'Oculus,' and I remember calling my manager going, 'I really need to do this movie,' and he's like, 'How about you finish this one first and then you see it?' I was like, 'I don't need to. I don't need to. You need to read this. I need to do this movie. The script is very good.'

I can say yes to some directors without even reading a script. But the first-time directors I've worked with, the scripts have not been perfect, but they had something that I liked.