Francis Ford Coppola Quotes

I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.

But the longer I'm in the business, you see a lot of times these screenplays have been rewritten 5 times and you're not really offending an author.

I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.

I have been writing since 11th grade, and have a few features that have almost gotten off the ground. I really want one of my features to come to life.

It is important to be financially savvy when you turn producer. As a director, you just need to have a good script in hand.

When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

They are just really stupid people in Hollywood. You write them a script, and they say they love it, they absolutely love it. Then they say, 'But doesn't it need a small dog, and an Eskimo, and shouldn't it be set in New Guinea?' And you say, 'But it is a sophisticated romantic comedy set in Paris.'

When I finally finished writing 'Sisters,' I started getting hired for lots of rewrites.

The Indian film industry does not believe in investing financial resources in scripts.

When you see two writers named on a movie, one of them did some drafts and got the boot.

Nine months after we submitted the original screenplay for 'The Attack,' the studio that was involved pulled out. I've been told that 'you don't write in a French way; you can't make these multicultural films.'

I've rewritten other films and watched my writing be mutilated, but luckily, it's been mutilated anonymously.

With network shows, writers can be so protective of every syllable.

Being a professional screenwriter is perhaps the hardest occupation. Because nothing is ever yours and, by the nature of the medium, you are never ultimately responsible for your work. It can be interesting - if you have another outlet.

I usually just do, like, studio jobs, re-writes and stuff.

I started out working as a script editor and storyliner.

I'd love to be involved in the process of adapting a book to a script, but that's simply not my job.

I would never turn down an invitation to co-write another Pee-wee Herman movie!

If my film fails, I never think it was because the script was weak.

'Deadpool' took seven years to get to the motion picture screen, and I use that as my measurement. That tested me and my patience more than anything I could've imagined because the screenplay was so good.

I'd been acting since I was a teenager. I'd come to the point where I was writing my own movies of the week for TV. That was fun.

I just want to work on good scripts.

I'm just after the best script I can get.

I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.