Script Quotes - page 12
The biggest alien invasion picture of the summer of 1996 is Independence Day. But it's not the first. The Arrival, with a significantly lower budget than Fox's July 3 release, has that distinction, and, while this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.
James Berardinelli
Godzilla is the ultimate culmination of the "who cares about plot" summer movie. A loose remake of the 1954 "classic" Japanese monster movie, Godzilla, King of the Monsters (which is itself pretty thin in the story department), Roland Emmerich and Dean Devlin's big-budget lizard-stomps-Manhattan disaster flick has been written with the brain dead in mind. The script isn't just "dumbed down," it's lobotomized. Godzilla lives and dies on special effects alone.
James Berardinelli
Aside from a couple of signature flourishes, there's nothing to mark Paycheck as the product of acclaimed action director John Woo. In fact, there's little about this movie that makes it worth anyone's time and money. With a script that waffles between being hilariously absurd and insultingly stupid, and action scenes that won't cause anyone's pulse to skip a beat, Paycheck is less appealing than a lump of coal in a Christmas stocking.
James Berardinelli
It was an earnest, extreme, and irreverent book, a book that, in its mockery of authority, its relentless logic, its relentless hewing to the line of Reason, letting the sacred cows fall where they might, followed the old familiar script: CAMPUS REBEL FLAYS FACULTY. But the script was all balled up, for the author was more reactionary than any of the dignitaries in their black robes, and his book damned Yale as a hotbed of atheism and collectivism.
Dwight Macdonald
We were supposed to collaborate once, and along with Kurosawa make one love story each for a movie produced by Dino de Laurentiis. I flew down to Rome with my script and spent a lot of time with Fellini while we waited for Kurosawa, who finally couldn't leave Japan because of his health, so the project went belly-up. Fellini was about to finish Satyricon. I spent a lot of time in the studio and saw him work. I loved him both as a director and as a person, and I still watch his movies, like La Strada and that childhood rememberance...
Ingmar Bergman
Before, when I was covering the war in Vietnam and Cambodia, we used to have what I call the three Ss. You would shoot a story, you would script a story, which is to write it and then ship the story. And if you were in Cambodia you'd go to the airport and try to find a pigeon to carry it out for you. Someone who was leaving Cambodia to go to either Bangkok or Saigon or Hong Kong because there wasn't the satellite technology. There was no uplinks then. Today, the second major change is also in personnel. Today you have so much satellite coverage you can report live why from a battlefield. Before you were often there just by yourself. Now you're likely to be with 20 other reporters. I just think there's more people out there covering the same story and covering it in a very different way because of the technological advances.
Ed Bradley
For me, the roles are the secondary part of the whole process to me strangely. It's about who you're being directed by and who the other actors are. Whenever I read a script, I think, 'wow, that's a great story,' and invariably I want to play one of the other characters, and the process of working out how to play the character you're offered is to work out why you aren't playing the other characters in a way. Maybe that's why I play roles of various different sizes. The challenge is not necessarily always the lead role, but in this case [Blue Jasmine] it was all those things combined.
Cate Blanchett
I know very well the sorts of pressures you're under in television. I don't work in television anymore myself, but I'm constantly hearing from colleagues who present scripts to networks and are told, "The script is too complex. You have to keep it simple because the audience is dumb. You can make more money for the advertisers that way."
Michael Haneke
The miracles in fact are a retelling in small letters of the very same story which is written across the whole world in letters too large for some of us to see. Of that larger script part is already visible, part is still unsolved. In other words, some of the miracles do locally what God has already done universally: others do locally what He has not yet done, but will do. In that sense, and from our human point of view, some are reminders and others prophecies.
C. S. Lewis
