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The imaginative leap for me of writing for women is no more difficult than the one of writing for men. I've always wanted to have women well represented in the work that I've done because I've always been around them and around the way they look at the world.

Anthony Minghella

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Anthony Minghella
Age: 54 †
Born: 1954
Born: January 6
Died: 2008
Died: March 18
Film Director
Film Producer
Playwright
Screenwriter
Theatrical Director
Writer
Ryde
Isle of Wight
Anthony Mingella
World
Well
Imaginative
Looks
Leap
Done
Difficult
Writing
Around
Work
Women
Way
Wanted
Always
Look
Men
Wells
Represented

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Betrayals during war are childlike compared with our betrayals during peace.
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Of course, like all film-makers I've been mesmerised by cinema since I was a child.
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I always listen to music, my passion and vice is music, I will be denied access to heaven because of the number of CDs I own, and I have gluttony for all types and colours of music.
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I want to tell stories which require something of an audience, by way of thought, argument, emotion, because I'm more often in an audience than I am a maker of films, and that's the kind of movie I want to see.
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The problem with growing up in a cafe was the cafe never closed, my parents worked every day of the year from morning to night. So it was a big menagerie of kids, business and cooking!
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I was one of five very clever kids, the other kids were cleverer than I was and still are and are very achieving. The girls were always first at everything and I was always 101st!
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I work fitfully, in hope rather than in expectation, invent methods which last a week, and fill notebooks with tiny, illegible writing which often defies my own attempts to decipher it.
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I have always believed that there is a need for life-affirming films.
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The best thing about writing has been the writer's life, the sense of being expressed, the ownership of the day, the entirely specious sense of freedom we have, however slave we are to some boss or other. I wouldn't trade it for any other life.
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[Abbas Kiarostami] is a great artist and a poet. I sometimes think that if Samuel Beckett made films, he'd make them like Kiarostami makes them.
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No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
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The only lesson to extract from any civil war is that it's pointless and futile and ugly, and that there is nothing glamorous or heroic about it. There are heroes, but the causes are never heroic.
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I never feel more myself than when I’m writing I never enjoy any day more than a good writing day.
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When I became the chair of the British Film Institute, I didn't understand how much of my time would be taken up with trying to make a case for the British Film Institute: what it's for, why it exists, why it needs its money.
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Once you start to realize that a film is the sum of its editing, then editing is the thing you're always looking at.
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There's a great tradition at the BFI of giving fellowships and I thought one of the great jobs that I'd have at the BFI would be to give them out on a regular basis.
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