Script Feedback Quotes

Piper reads the scripts, and we email a lot. Most of her comments are on the more technical side, like "This wouldn't happen. This is against the rules." She's been extremely respectful of our taking her story, and then veering left with it and taking it in its own direction. But, I always want her involved because she's the mother of all this.

You have to write a lot of scripts to get any scripts that are worth making.

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.

I often have scripts sent to me with allegedly Scottish characters where I end up telling them, 'You're going to have to rethink this whole thing!'

I told my friend - we were working on a movie together - and he gave me a script and asked me to give him notes. And they were all male characters, and I said, "You know what would make this character more interesting?" And he asked what - and it's this road trip between three guys, basically, one older man, one 30-year-old and a 13-year-old mechanic. And I said, "If you make the 13-year-old a girl, and you make her an Indian-American mechanic." And he said, "What do you mean?" And I said, "Yeah, don't change anything in the script about him, and just make it a her."

All this flying around got on my nerves. But then I gave the script to Cathy to get her opinion. When she started to laugh, it was like 'That's it!'. I went to LA and I got the part.

I don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney.

When an actor asks you to read his script, your heart sinks. The number of scripts I've been given by actors that are so unbelievably terrible!

I wrote a script, and I gave it to a guy who reads scripts, and he read it, and he liked it, but he said he thinks I ought to re-write it. I said, "Fuck that - I'll just make a copy!"

I avoid listening to too many people's comments about my script. I have learned to take in what is of use. It's too frustrating looking at somebody's notes who didn't get what you were doing. If somebody says, 'This stinks, and here are all the reasons,' that's not going to help you.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

TV is the place for writers to live. This is where you have creative control and you're constantly writing. 'Twilight' had almost a TV schedule to it. I was constantly working on these projects. There was not a whole lot of lull but I've gone onto other feature projects that's like, 'Okay, I'll get back to you on notes.'

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.

I met Rajini sir after 'Jigarthanda,' and he said he liked my film. He told me I could approach him whenever I had a good idea. I had never thought he would listen to scripts from new directors. After the meeting, I wondered, 'Should I take his words seriously or not? Should I write something?'

What I do feel with the different scripts that they give me where I feel like this is done for one of those reasons, I share my point of view. I don't just say, "No, thank you." I say, "I feel that this represents Latinos in a wrong way, in a bad way."

When I give notes on a script, I say, 'Guys, I may drift, but it's part of the process.' So I'm aware that I'm drifting, but I'm grabbing a lot of stuff.

Stephen King is one of my all-time heroes, so, of course, the pressure never lets up. Every second, you hope he'll like it. I remember getting a call from him after he read my script for 'Hearts in Atlantis.' He liked it. Talk about relief.

I get a lot of emails of scripts and pilots, and they want me to give feedback, and sometimes I can't because it's so many.

The bane of every TV writer's existence is the likability note.

I often give my wife Carol scripts I'm offered and want her opinion - because she's a really smart lady, and she's got nothing to do with this business, so I get the audience's point of view.

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.