Script Supervision Quotes

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.

I can't imagine directing from someone else's script.

If you want someone to show up and execute your script for you, seriously, there are a lot of great people out there. Don't call me.

My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!

On 'Darjeeling,' I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On 'Moonrise Kingdom,' I showed up for one day.

I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.

Directing a film is a lot of physical work.

I had written a script called 'Freed,' which I had wanted to direct.

I'm a writer; I've worked as much as a writer as I have as an actor, so I was in a script-note session at Imagine for a TV show I wrote that they were producing, and they happened to say, 'You'd be great as Crosby, do you want to do this show we're doing, 'Parenthood?'

I had a job on a Spike TV show called 'Fresh Baked Video Games.' I was the animation producer/kind of a writer, but I couldn't get anything through.

There comes a time as you continue to write and work on scripts and screenplays where you realize that you have opinions about the next step of the process, and you kind of want more control over the translation from page to screen.

I don't want to be an editor! I don't want to direct; I'd be a horrible director. I don't want to write - I have a 'story by' credit on one film I did. And I don't want to edit at all.

Producing is making films without having to work sometimes. It's still making films, but it's a different job.

I grew up in L.A., and I worked for 'The Hollywood Reporter.' I knew enough about the business to know that the usual role of the author on a movie is to get out of the way and not say anything.

The first assistant director is just so important that the choice of that person is critical to the movie.

Capra always wanted a screenwriter with him, even on the soundstage. The writer had to be there at his side.

I would prefer to work for directors who give me the script and written screenplay at the outset.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

When the creator of the show is gone, the actors end up being the people who have been there the longest.

As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different.

Part of what I love about producing is to get to work with writers.

I read every draft of every episode of every series produced at FX.

For most directors, the scriptwriter is about as welcome on set as a member of the Taliban.

Writers are first directors. When directing our own scripts, we would have a better vision and clarity than directing the stories penned by others. I personally think that a writer's job is tough than a director's.