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I hate doing anything in offices. I either want to be out in the world or in my own environment - and it should be your own environment that you work in.

William Monahan

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William Monahan
Age: 64
Born: 1960
Born: November 3
Critic
Film Director
Journalist
Novelist
Screenwriter
Writer
Boston
Massachusetts
Claude La Badarian
Hate
Anything
Work
World
Offices
Office
Environment
Either

More quotes by William Monahan

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The old days of screenwriting, and myths about screenwriting, are maybe over. It's a literary form, if you can wake up to it.
William Monahan
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You never know what people are going to go and see.
William Monahan
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I never write with particular actors in mind.
William Monahan
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When they see you get what you want and move on, quickly, you've done a contract with the crew from that point. In Britain if the sparks call you Guv on day two, you never need an award of any other kind.
William Monahan
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I don't watch anything. I work so much. If I see a film, it's usually that I'll go in after working 15 hours and slam in The Bridge on the River Kwai or something.
William Monahan
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I'm a homebody, as many writers are, and need to be by myself, and I like to be by the Atlantic Ocean.
William Monahan
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I don't move until an actor is happy, but it was very important to me as a so-called first time director to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.
William Monahan
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I came into screenwriting from an odd direction, because the first screenplay that I read was and is better as writing than the top one percent of literary novels.
William Monahan
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Dialogue is used to reveal not what we want to say, but what we are trying to hide.
William Monahan
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I learned from Ridley [Scott] how to come out of the trailer at a fast walk and make your decisions and keep it going. We were very much on time and under budget, as they say. That was a very important thing for me and very satisfactory.
William Monahan
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I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry.
William Monahan
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I went into directing having observed and learned from the best. There was a certain standard of procedure. I found that I was equal to it. I thoroughly enjoyed directing, I liked it a lot. It's very satisfactory to see that you can do it. The art takes care of itself.
William Monahan
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London exists normally in a state of bleach bypass. There's the artistic context of Blow Up and Performance and all the Sixties and Seventies British films that I grew up on, because I did very much grow up on British films.
William Monahan
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By the time someone gave me some samples of standard screenplays I was already beyond that stuff, because I was not only a tinkerer in ways to do things, I'd started from Dylan Thomas. As a screen dramatist he was a very intense visualist, with great timing and fluency.
William Monahan
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I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition.
William Monahan
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When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.
William Monahan
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I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.
William Monahan
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Novelists who get shitty about screenwriting invariably can't do it, or they can't hack it in the world of what's really, in truth, very bold and very public enterprise.
William Monahan
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I cut London Boulevard pretty aggressively, but I liked the transitions and the elliptical feel that I got. It's not an exceptionally easy film to follow. You have to know that the paparazzo looks like Mark David Chapman. He hasn't got an expositional sign on him.
William Monahan
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I think probably everybody works most on the beginning and the ending.
William Monahan