Hume Cronyn Quotes

Most scripts are bad. I read a lot of them.

I do get a fair amount of scripts; I got 'Frozen River' kinda just that way. I have a hard time turning my back on anybody who says they have something for me.

I've received some English-speaking scripts, but I was not interested in them.

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

My dad's got a brilliant eye for scripts 'cos he's a literary agent. He and my agent read a load of scripts and filter them.

I have a stack of scripts that I've read - I'm in the lucky position where I get offered things - but I haven't wanted to direct many of them.

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

You would not believe some of the scripts I have seen. I have read something like 160 that I've rejected, and I keep them all, for posterity.

I read a lot of scripts, so I know by page 25 if I like it or not.

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've got a big closet of scripts, and a big stack of scripts on the side of my desk, because you get a whole bunch. Nothing's going to be perfect, and I realize that; but I am a perfectionist, so you go through a lot of stuff.

I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'

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

I have a lot of scripts that come my way, and some of them take a bit longer to read than others. There are a lot of things that I have to pass on because I'm just not into it, and sometimes the story is slightly forced.

I get a lot of emails of scripts and pilots, and they want me to give feedback, and sometimes I can't because it's so many.

My choice of script is governed by two factors - either I've to like the people associated with the project or the storyline should be interesting. I focus more on the vibe and the type of energy I get from them.

Once, I had so many scripts coming to me that I could hardly read them all.

Some of the material out there - I don't want to say that it's all bad - but there's a lot of bad stuff out there. You just continue reading scripts, and eventually you find something you connect with.

I've read some scripts, but I don't read as many books as I should.

My dad reads the scripts and passes them on to me.

I read a lot of scripts that I just don't find very funny.

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.

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.

Sometimes reading scripts is terrible.

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.