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As we go through life our relationship with our own mortality and our inevitable demise increases.

Peter Morgan

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Peter Morgan
Age: 61
Born: 1963
Born: April 10
Film Producer
Film Writer
Playwright
Screenwriter
Showrunner
Writer
London
England
Peter Julian Robin Morgan
Demise
Increases
Mortality
Inevitable
Increase
Relationship
Life

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I am not a politics wonk. I like the idea of my writing reflecting more about who I am or other people.
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Firms are a bit concerned about things like oil prices and US growth but actually the change (in firms expectations) is quite small so I think broadly theyre looking for more of the same.
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The thing that I'm most in love with is the thing that I'm writing at the moment.
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It might be more difficult because you haven't got a book or a prop, but for the most part I like to write unpaid... initially and my own stories.
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A 20-year-old is never going to give death a second thought, whereas someone in their late 50s is going to think about it... I don't know, 20 times a day.
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You're working with other people and sometimes it doesn't work out the way you want, and sometimes you didn't realise what a mistake you've made until you see it projected.
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You don't really work together with Clint Eastwood. I mean, he takes the script and he shoots it - and he shoots it very faithfully.
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To what degree are historians chroniclers of the truth and to what degree are they just novelists, frankly?
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I read nonfiction. There's very little fiction that I enjoy enough to spend my time reading. I am generally a nonfiction guy.
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I don't want to direct. I have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.
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I just try and do something good. But as a writer, you're slightly out of control.
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There's no way of telling why you want to do things beforehand. Something just grabs you. It might not grab you six months later, and it might not have grabbed you six months before, but at that particular moment it grabs you, so you jump on it.
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It's really a lovely feeling to write knowing that failure is taken off the table because if it's bad you just never show it to anyone.
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I can't relax when I'm watching a biographical drama, because it's so close to what it is that I do that I just long for more fiction - so that I can switch off.
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The real beauty in my professional experience has been friendships and collaborations with filmmakers.
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I wrote 'Hereafter' quickly and without mapping it out too much or being too schematic. As an exercise, I think that was incredibly important.
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I had no intention of providing any answers or solutions, because you'd only look a fool, but I did want to talk about what it's like to be in a state where you're wondering. And perhaps I was also receptive to the fact I was entering middle age and those thoughts come - to pretend that they don't come is just crazy.
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Sometimes you are lucky enough to get offered things and there is no rhyme or reason.
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Having a phone call from Steven Spielberg was just a fantastic rite of passage. I loved it, and he was very focused, very likable, strictly business, and really sharp.
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