Gene Wilder Quotes

I've found the 90-10 rule to be pretty true: 90 percent of what I come up with and write down is kinda 'eh,' and then somehow, someway, 10 percent of it happens to work out really great in my act.

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

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 think a good script is a rare thing, and I think no matter who you are you have to fight for the good ones.

I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

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

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

Good scripts are difficult to come by in the industry, especially if you are an outsider.

Usually when you get a script from actors, you don't have high expectations.

At the same time, reading an action script... It makes me wonder. Was The Matrix a good script? I don't know.

When I'm working on a book, I try to do eight pages a week. That seems like a good amount. Less than that, I'm not getting a nice momentum, and more than that, I'm probably putting out too much crap.

Sometimes I read a really good script, and I just know that it's not a good fit.

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

There have been times - and not just on 'The Newsroom,' but on 'The West Wing,' 'Sports Night,' 'Studio 60'... - where it was hard to look the cast and crew in the eye, when I put a script on the table that I knew just wasn't good enough.

You can make bad writing 'OK,' but... you really need to start with a good script and with characters that are three-dimensional and with great dialogue. It's a difficult lesson to learn because good writing is hard to come by, but it's definitely worth chasing.

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.

I know firsthand how much work has usually gone into a screenplay, so if there's something that rings false or a line that I would think would need a tweak or something, I will think long and hard before I even recommend changing it. In that sense, I'm very faithful to the scripts that I get - if they're good scripts.

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

I thought 'ER' was a really good script, but I didn't have any inkling that it would become the phenomenon that it did, and I don't think anybody did back then.

When there's a good script, everybody circles.

Good scripts that are offered to me are few and far between, so I pick the best that I get.

If I get good films, I would definitely do them. But most of the stuff that I get is not good at all. They were not good scripts.

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

If the script is not good, the film will not work.