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Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.
William Monahan
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William Monahan
Age: 63
Born: 1960
Born: November 3
Critic
Film Director
Journalist
Novelist
Screenwriter
Writer
Boston
Massachusetts
Claude La Badarian
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Journalist
More quotes by William Monahan
In reviewing films, people get quite liberal about saying the script this and the script that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.
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If you decide to do Hamlet in a funny hat staged in a ruined factory, it doesn't make you Shakespeare.
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I never write with particular actors in mind.
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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.
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I think that gambling is a synthetic experience and that if you have any balls you gamble with your life. I have. So can everybody else.
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On historical you take the known facts, dramatize them, and then stitch them together by invention. It's a projective thing.
William Monahan
I'm not very precious at all, which I think people find surprising.
William Monahan
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.
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As far as executing work is concerned, you do it all in order. You do it in contractual order. There's no overlap, it's just continuation of your ordinary work. You move from one project into another.
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You never know what people are going to go and see.
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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.
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In truth, the cinema as a delivery system obviously has its days numbered. And that's not a bad thing. When you can buy any book in the world on your iPad, or off Amazon, you don't go the public library. The public library becomes about homeless gentlemen sleeping in chairs.
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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.
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You know a shooter when you see it. At least the creative people do. If a picture isn't obvious in the first draft you're kind of screwed.
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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.
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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.
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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.
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Out of all of the Star Trek movies, I happen to like the most recent one the best. I think it was the best one ever done.
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London matters to me because it's the center of what I do for a living and has been since Tudor times.
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In all honesty a gangster picture was the easiest kind of film for me to get made.
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