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I love audiences, but they're not there to drive the bus. Whenever you ask opinions or anticipate opinions you can get pretty terrible art, or non-art. You need a single guiding intelligence, even in a collaborative form.

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
Form
Intelligence
Collaborative
Need
Terrible
Guiding
Needs
Single
Anticipate
Even
Pretty
Bus
Love
Opinion
Audiences
Asks
Opinions
Audience
Drive
Art
Whenever

More quotes by William Monahan

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When I was very young, you would get the TV listings from The Globe and The Herald, and you would basically go through them, circle things, and map out your viewing week.
William Monahan
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The empirical is very important, but merit is inherent and not acquired. A university is massively important because you can see where you stand naturally in the ranks, and try yourself out, but education is just reading and understanding what you read.
William Monahan
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The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore.
William Monahan
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I'm not very precious at all, which I think people find surprising.
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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Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics.
William Monahan
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Casting is always subject to availabilities.
William Monahan
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I never viewed screen drama as a vulgar form, or a lesser one, and I've never written it left-handed.
William Monahan
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You can believe in originals only if you just don't know their context within literature. Certainly I believe in originality, but it lies with the teller, not the tale.
William Monahan
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The thing about movies is if somebody has an idea that works, it's in, and I say that as a screenwriter as well as a director.
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 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 need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.
William Monahan
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T.S. Eliot, who learned to swim at the same beach as I did, just threw in the towel and moved to Cheyne Walk. I'm not going to do that but I'm not scared of the open channel between me and Britain.
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 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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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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When I was young I was only thinking of writing, and whatever was going on was unreal and comparatively unimportant.
William Monahan
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Doing crime films...maybe it's to some extent a matter of taste. Certainly my first novel had a criminal element and was about the similarity of criminals and artists. Pretextually, it was sort of a money bag thriller. But it was aggressively not what it seemed to be. It was kind of Duchamps.
William Monahan
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When I was a kid in London there was just something about the light and there's something about the way London went onto film in those days, whether it was Technicolor or Technicolor plus the flatness of the light, or whatever.
William Monahan