Rajkummar Rao Quotes

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.

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

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

I'll read, like, ten scripts, and then sometimes if I'm lucky, there will be two or three scripts that I like, and sometimes they'll all be dramas, or they'll all be comedies, or there will be two dramas and a comedy, and then I'll go for whatever. If I have to audition, I'll audition. If it's an offer, great.

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 think that it's fun to get the script and open it like a Christmas present. That's 'Alcatraz' or anything that I'm working on. If the groundwork has been laid too much, the surprises aren't there.

I try to read everything that's sent me - play scripts, movie scripts - but I've had to make a rule. If the author hasn't grabbed me by Page 25, the piece goes back with a note of apology.

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

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.

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.

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.

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.

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.

Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose.

I didn't want to do 'Casino Royale' when they told me to audition. I said no. Then they sent me the script, and I thought it was actually very interesting - and I had no other work at the time.

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'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.

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'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

You read a lot of pilots during pilot season, and not all of them really grab you.

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

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 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.