Script Breakdown Quotes

I think a lot of young girls see actresses, and they think of red carpets, and they think of 'Us Weekly,' and they don't really think about the breaking down of a script and what that requires and what you would need to pull it off.

The first thing I do with any script is read it and try to visualize if I can play the character - if I can feel what the character's feeling.

My friend had told me about 'Stranger Things' and how I had to watch it. I was like, 'OK, I will!' I binged it in, like, a day and was like, 'Oh my gosh, Mom, you need to watch this show. Everyone needs to watch this.' A week later, I got the breakdown for Max. A month later, I got the part.

When I listen to scripts, I never ask who my co-star is - instead, I ask about the characters and the producers of the particular venture.

When I get a script, it's the only time that I get to be an audience member with the first-time experience of that movie. That's the first and only time.

Normally, when I read a script, I read 30 pages, and then go have a cup of tea and come back. And then, I read 20 pages and go make a phone call, and then go back to it.

How do you shoot a 150-day movie? You shoot it one day at a time.

When I approach any script, I always try to find what I would relate to most in it.

When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'

I would prefer to work for directors who give me the script and written screenplay at the outset.

The script looks huge when you first get it, but you just have to go home and drill the lines out. The more you read it, the shorter it gets. I usually read it at least four times.

Originally they wanted me to be Buster but I really like the Tobias part.

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.

Usually, I write my scripts first, then think of the actors, or I have a reference of someone.

Every time you get a script and you have a scene, you start mining out how many layers there are within it.

Oftentimes, in fact I think this is to my fault, I look at usually scripts as a whole. I should probably pay more attention to the character that I'm going to play and what they do.

I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.

It's always challenging when you're shooting a film. Shooting things out of order and keeping continuity on all levels is always for me the most challenging thing.

I spent almost 3 months with Bergman, four hours every afternoon. We sat and went through the whole script. To be honest, most of the time we talked about life and other different things. It was really a wonderful time.

In my early 20s, I didn't even know what the Groundlings was. I had no idea. But I know how to break down a script and work on the character.

The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.

The best thing for me is, when I'm not working, is to be at home and to have a script or two scripts is better, and to be just walking around the house and just thinking about the lines.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.

I need to have my hands on the DNA of a film.