Tony Scott Quotes

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 take time to write my script, if I have more scripts, I will make more movies.

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

I was asked to do a reading of 'G.B.F.' and I loved the script. I thought it was one of the most amazing things I'd read, but it took a year to get a green light for production.

It doesn't help anybody to put out a bad script.

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.

'Unforgiven' is probably an example of a script that I liked right away but thought, 'This is great, but I'd like to do this when I'm older.' So I stuck it in the drawer for ten years and then took it out.

It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.

There aren't enough good scripts.

I can't imagine directing from someone else's script.

I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.

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 had written a script called 'Freed,' which I had wanted to direct.

When you have a good script you're almost in more trouble than when you have a terrible script.

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

I wrote the screenplay for 'This Is Where I Leave You' - all 40 drafts of it.

I read a lot of script. In my opinion, most of them aren't good or aren't about people.

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.'

Good scripts have always been, I think, hard to find. Good storytelling, good writing - it's just not easy. I have made it a point that - if I'm going to put the energy into doing this work - I will wait until I find something I'm really happy with.

Whenever I hear the narration for a new film, I have this process back home where my mother reads all my scripts.

I just want to work on good scripts.

Writing a script is hard, I've discovered.

They sent us the script of 'Back to the Future III' and we wrote 'Doubleback' for it.

I started out working as a script editor and storyliner.

I'm not saying I'm a writer, but I've been in movies for a long time, and I think I could write a script for a movie.