Script Discussion Quotes

I'm happiest when I'm discussing a script and working with interesting people.

The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.

We had a script reading, and that's where we met J.K. Rowling, which was really exciting.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

When it comes to scripts, I take a critical look at them and then sound it off with Dad.

When I'd read the script [The Man], [ Eugene Levy] that's who I'd seen in my mind. When I ran into him, I said to him, 'I read the script. You'd be great.' He had no idea what I was talking about. Then, we saw each other again in London. He'd read it and was enthused about it.

You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.

I am ready to go super bold. I would like to thank not just my husband but even my in-laws, who have had no problems with my bold characters. You may find it surprising that we all discuss my scripts on the dining table.

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.

If there's something really, really bothering me about a script, then I'll say something, but otherwise I find my answers in the script.

One day Mani Sir called me to his office and narrated the script of 'Raavan.' He then asked me how good my Hindi is. When I told him that it's quite good, he asked one of his assistant directors to talk to me in Hindi and I was asked only to reply in Hindi.

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.

An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."

When you have a script, and you're discussing what it can be, and who going to play what role, that's a kind of like a fantasy football game. You can imagine these different dream teams interpreting these characters that only exist in your head.

The thing I noticed about Jack was when we did a reading of the script, just to warm up.

I remember calling and asking, because I had a few lines that were like, "How could the character have done this?" and I hadn't read the part of the script that said what she [ Cate Blanchett] did, so they put me on the phone with Woody... Allen. I don't know if I could really say "Woody."

When Raj and DK came and narrated me the script, the title was something else. But in conversation, I told them if we can name it 'Stree'. In a way, I was the one who decided the title. I found that one word very catchy.