Antony Starr Quotes

I see a lot of scripts, and very few of them leap off the page at you.

I definitely have to know every detail of a script and analyse its potential before I think further because if the director is the captain, then the script is the ship.

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.

Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.'

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

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'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.'

The thing that separates a so-so director and a great director is a love and caring for film.

I always feel that if you put me in a room with a director and a writer and let me talk about the script, I can give a good account of myself.

It's funny, because what happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images.

Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.

Offers come all the time, but I'm pretty particular. I really have to be wowed by a character I encounter in a script, or a storyline. I really do need to feel inspiration, otherwise I'm just happy planting perennials and making goat cheese.

When I was a kid, I wrote to the BBC, and the producers sent me a huge package through the post with 'Doctor Who' scripts. I'd never even seen a script and couldn't believe that they actually wrote this stuff down. It sort of opened a door.

Your structure and format may not be perfect, and you may not have picked the perfect franchise, but if I pick up a script, and the characters are real, whole, complicated and come from a place of somebody who really is feeling it, that's what people remember.

I don't want to make a movie till I have an idea I have to make. I don't want to make a movie just to make a movie.

My stories are pretty simplistic, but the characters are always complex and always right, and that comes from the script and my research and reverse-engineering what I find in the real world.

There are definitely scripts I start reading, where it doesn't interest me. Maybe it'll be a good movie, but the character doesn't intrigue me.

I got the 'Max Rose' script, and I fell in love with it. It just hit me. It was something that needed to be made.

I would like my novels to be read the way I read the novels I love.

I had a strong visceral reaction to the 'Moonlight' script, partly because I felt I knew all of these characters.

I think probably I've been influenced by Chekhov and Walt Disney, if you see what I mean.

Matthew Wiener on 'Mad Men' writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.

I think what I look for in a script, it's the relatability quotient that matters the most.

I look for good scripts, not anything. It should inspire me, and the audience should like it.

If the script doesn't excite me, there's no point working on the music.