When I was a studio executive, we had Monday morning staff meetings to go over the "weekend read," the scripts that were delivered to our offices (often in empty Xerox boxes, numbering at least 20) on Friday afternoons with coverage attached. There's an urban legend about a very big deal agent in town who tells his clients he won’t read their scripts because it will hurt his chances of selling it. If I have to read these days, I'll read scripts from friends (who in turn read my scripts), scripts from shows I'm working on, or scripts from shows I might work on. But of the 10,000 scripts I have read, I can honestly say there are under ten I’ve ever actually enjoyed reading (One of them was “The English Patient.”). When I was 10, I made my parents sign me up for the Evelyn Woods speed reading class. When I was six, I won a contest at school by reading the most books in a year (the prize was a highly coveted masterpiece by every first grader at my school called “ The Seven Chinese Brothers”. The irony of all of this is that I grew up with a love for reading that started when I was four and I'd read the textbooks my grandmother used as an elementary school teacher. The execution of the idea, the story, is for the writer to get on the page. I do what I’m really good at, helping writers excavate and develop the potential of their idea. In fact, I do everything I can not to read their pages.
Now, when I work with writers, I very rarely read pages.
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