Naga Chaitanya Quotes

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.

Every script has things that would draw me away or draw me towards it. But I just try and choose as wisely as possible - when I get to choose.

I think first impressions are important when you pick up a script.

I have a tendency to say yes to a script or no to a script. Not yes based on a rewrite.

I wasn't involved, except to the degree that they sent me drafts of the script as the writer turned them in. They asked me at one point to write a memo about what I thought of it.

Oftentimes you read scripts, and you get to one and you think, 'OK, is this good, or is this just better than all the other ones that I have been reading?'

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

Not all television scripts are created equal. And the process is ridiculous. They send you a script and want you in the next morning. That's not how acting works. You can do anything to me as an actor; I'm a very resilient guy. Just don't rush me. If you ask me to do it immediately with no time to prepare, I know you have contempt for actors.

My brother is my go-to with scripts, especially when we're talking genre pieces, because I want to make sure that it's legit. I can love it, but then I pass stuff on to him.

I can now tell from the envelope whether or not it is a good script.

I read an interview with Mark Wahlberg, and he was like, 'I might read a script and love it, but it's all about the filmmaker.' I think that's a good lesson for me.

When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.

Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.

If I read a script and find it engaging and I start making choices in my mind on how to approach the work, than that's a good indication that it is something worth pursuing.

The Lord Chamberlin was censoring scripts when I first came into the theater.

Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.

As a rule it usually takes three or four readings for me to be interested in a script, and if I'm interested I'll read it three or four times before I make a strong decision.

I'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

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.

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.

My dad's got a brilliant eye for scripts 'cos he's a literary agent. He and my agent read a load of scripts and filter them.

I turned down the first script offered to me, and the second. I lay on my back one day under an umbrella, in the garden, reading the third, and wondered why I had turned down the first.

You never know when you read a script how it's going to turn out because so much depends on the collaboration between people. If I'd been in some of the movies I turned down, maybe they wouldn't have been a success.