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It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general.
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
Really
Gangsters
Personally
British
Films
General
Wasn
Film
Kids
Gangster
More quotes by William Monahan
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
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.
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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
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
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
Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.
William Monahan
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
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.
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Star Wars was great at the beginning and crap at the end while Star Trek has always been interesting, and the difference is in the writing, and the thematic intentions.
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My gratitude to Ridley [Scott] isn't anything new. I named one of my kids after him. But he's a very important person to me.
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Dialogue is used to reveal not what we want to say, but what we are trying to hide.
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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.
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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.
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You're not turning the picture over to a system or a process, you are the process, and the most important thing is to have things exactly as you want them.
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Certainly some guy eating cardboard in Cincinnati has lost any ordinary impetus to review your novel decently if he's just read you just got six figures out of Warner Bros - which incidentally was not true.
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If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like a novel made for the screen and things like that.
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If you need someone to come out of the sewer with a wire you don't hire someone who needs laborious collective instruction. You let someone do his job, whether he's a focus puller or a surgeon.
William Monahan
Get Carter is a classic, but it did nothing in the United States. It came out on a double bill with a Frank Sinatra western.
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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I have a lot of stuff that I never published because I always had a sense that novels were not finally going to be the way I made my living, because the form was dying commercially.
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