Martin Freeman Quotes

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

I never turned a part down when they offered me money.

When you get scripts and you really enjoy reading them, you know it's a good project.

I always keep my options open. I always say, "Make me an offer and send me the script, and if it's something that I can connect to or relate to..." The character has to intrigue me, and the project overall has to intrigue me. And if it all lines up properly, then we can get into the business side of it. But it's always about the creative first.

I'm getting good offers, as good as ever sometimes. I just finished a thing with Billy Bob Thornton that was the most unique part I've ever played in my life, in the most unique project.

Sometimes we'll only get one script in a year that we want to make that we feel is good enough.

I think the first thing I consider is whether I like the script. Once that is done, the next thing I look for is my part in the movie. Many a times you come across good offers, but the part they are offering might not be challenging. So, I don't take up that film.

My partner Dan Ireland wants me to direct, and I read a lot of scripts - some good enough that I could see myself. But then it's like, so what? Who cares? Let someone else direct it.

In fact, I had a series of offers which would have brought me a lot of money to make films and package TV programs. There were people who said to me, we'll put a million dollars in your bank account tomorrow, which is a hard thing to turn down.

You try to go where the great scripts are, if you can, or you go where the not great scripts are, because that's what's being offered to you.

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 didn't want to be seen as just a guy on a list. I'm interested in good scripts, scripts that are about something, scripts that move your acting along.

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'd read a lot of scripts, and I remember reading 'Orange Is the New Black,' and it was at the head of the pack. I remember thinking, 'Wow, that is really good. I would love to be a part of that.'

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.

I like girls who are self-deprecating. I like girls who make fun of themselves. If you can't poke fun at yourself, what are you? I just want someone with a good soul. That's about it. The rest I'm really flexible on.

Actors are always looking for actor-proof parts. A part so good you can't screw it up!

I will only do a Hollywood film when there is something special offered to me.

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 still take work if I think it's good. If I like the script, I'll do it. If I don't, I won't.

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

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.

Sometimes you read something, and there's a part of you that remains in an analytical actor place. Am I going to do this movie? Is this a good part for me? Is it not? Can I bring something to this?