Jennifer Connelly Quotes

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

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.

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.

For me it's a very organic process. I read the script/hear a narration and pretty much know instantly if it's something I want to be a part of or not. It's really as simple as that.

I'd get scripts and think: 'What's the point of this?'

And I may often question choices I make as a producer. But I've never questioned the choices I make as a director.

Today, I guess I give a lot more thought to the roles before I sign them.

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.

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.

I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.

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.

As actors, we are so privileged to do what we do and to give to the world and to choose the subject we want to say to the world.

I'm lucky enough that financially I don't have to feel obliged to go for the bigger stuff. I like the stories and scripts to dictate if I want to do them.

I never really do much research before signing a film. It is just the script and character that I concentrate on.

As a rule it usually takes three or four readings for me to be interested in a script, and if I'm interested I'll read it three or four times before I make a strong decision.

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.

My background is really being a writer's actor - that seems to be the way I work best, bringing out the best of writing. There's a whole range of acting skills, and some people can be astonishing with very poor material. That's not me; my skill is essentially unlocking the writing.

If there's something really, really bothering me about a script, then I'll say something, but otherwise I find my answers in the script.

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.

I think it's always challenging to look at a script and make it your own while maintaining the sense of what the style of the show is.

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.

A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.

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.

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

I don't make decisions just on the character I'm supposed to play. Sometimes it's based on the director, sometimes it's based on the story, sometimes I need money, or sometimes I'm just starved to work.