Nina Tassler Quotes

I think most Hollywood meetings are silly and I truly despise pitching. It's insane to expect someone to come in and tell you the story before they've written it, and buying an idea from someone who can explain it rather than write it is like choosing a mechanic based on his ability to draw a picture of your car's problem.

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'm not sitting around thinking of ideas for TV shows.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

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

The green-light meeting, when I first started at Paramount, would consist of maybe three or four of us in a room. Perhaps two or three of us would have read the script under discussion.

My easiest judgment for a script is 'do I want to keep reading it?'

I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.

If you are still thinking about a script after five or ten years, that's a sign that it's good - not that it's stale. And the opposite is true - if everyone wants to make your movie, that's a sign that it probably sucks.

The simple idiot's advice I give to screenwriters who say they want to sell a screenplay is, 'Write good.'

I was reading scripts, doing coverage, for CAA. Reading hundreds and hundreds of scripts across the board, from blind submissions to 'Brokeback Mountain'. It was not always a pleasant task but something, in hindsight, I'm glad I did.

I say to my pupils, 'You can pitch me any thing you've got, but tell me why you're the only person who can write it in the world. Keep digging.'

Regarding scripts and projects, I've always been open to reading all sorts of genres and never closing myself off to one, because you never know what you might find.

For all the hundreds of scripts that are out there, there's not that many that are amazing.

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

I look for scripts that give me a gut feeling that this is going to work.

When you get scripts and you really enjoy reading them, you know it's a good project.

I accept offers only when people approach me with a good script, and all those experiences have been great.

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.

For me, it's important that the script is good. Then a good director will want to make it.

Most ideas remain inside you for a while. You tell somebody when there is a spark or a thought, and leave it at that. You come back later, write down a few lines. I makes note in my mind on whether it can be made into a film or not.

After I met Ajay Bhuyan, we thought of making the English TV show 'Prison Break' as a Telugu film. Ajay put it all down, but somehow, we felt it would not work. Then 'Dhada' emerged.

I like having an idea, or hearing an idea, and getting it into a proper script.

I just want to work on good scripts.