Jodie Comer Quotes

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.

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

India needs better producers than screenwriters. No producer wants to invest in out-of-the way scripts.

I get a trickling few scripts that I'm lucky enough that some of them are great. I don't get loads of scripts.

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.

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.

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.

If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.

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.

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.

Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.

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

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

Most of the scripts that land on my desk are stuff you read and go, 'Is someone really gonna make this?'

You'll read a script, and it'll grab me, or it won't.

I'm not put off so much by first-time directors if the script is great. If the script isn't there, I'm not there.

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.

There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.

You would not believe some of the scripts I have seen. I have read something like 160 that I've rejected, and I keep them all, for posterity.

If I can't finish a screenplay, if I can't get to the last page as a writer, it probably means it's not a good movie for me to make.

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