Corey Feldman Quotes

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 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.

If I feel the role is not going to demand anything out of me, I don't do it. Either it has to be a terrific role, or the director has to be someone I am dying to work with. Or the costar has to be someone I really look up to.

I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.

Whether I'm interested [in something] or not, step one is read the script and figure out if a character is someone I'd want to explore or not.

Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.

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

I work in whatever medium likes me at the moment.

If the right thing came along, I would absolutely direct something I did not write because I love the process so much, but we'll see. I'm taking it day by day.

I'll write anything; I don't want to judge its form.

I just feel like when a good project comes along, I'm not going to discriminate against it because it's television or because it's a film. I never want to say no to something just because of the area that it's in. If it's a good story or I think it's going to be exciting to play or exciting to be a part of, then I'm going to be a part of it.

I don't really look for a script and go, 'I need to do a thriller, so I'm going to do this.' I just read scripts and look for the best possible story.

You can't control the quality of projects that are coming to you, so if you get several in a row that are quality, you take them.

No dance has ever turned out the way I thought it would, because I trust enough that I can start something with some ideas and then it takes itself somewhere.

When I'm making something, I've always felt in charge and therefore able to call the shots. But what you've got to do is stop that turning into arrogance or despotism!

The only really conscious decision I made was to cast my net wide and if the work was good, to do it.

You have to have an unlimited imagination, an unlimited restraint on your inhibition when you're working. You have to even dare to fail, even in a scene, whatever it is.

I don't really have a structured path of wanting to say, 'This is what I'll do next.' I'm just going to read a bunch of scripts and see which one I love. There are so many things I would love to play, in all different genres.

Everything that I am going to do as an actress doesn't matter where it's coming from. It just has to be interesting.

I always put myself in the audience's place and see if, as a viewer, I would want to see the film. If yes, then I want to know who's directing it, what my character is, and if it's impactful. If all these points fall in place, I'll do the film. If not, then I won't think twice before saying no.

Whenever I like a character or a script, I take up the project and leave the rest to the audience.

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

I don't make a conscious effort to choose any particular genre. If I like the script, I go ahead with the project.

You have to challenge yourself about the choices you make as an artist.

I choose roles according to my sensibilities.