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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: 64
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
There's always a great hue and cry when you sign onto a remake, and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.
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I'm not very precious at all, which I think people find surprising.
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I learned my job from English dramatists. Tennessee Williams was no good for me, New York stuff was no good to me.
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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.
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If you see, as I do, in edited film, you're going to end up as a director.
William Monahan
I'm usually the first guy to propose a change because I'm continuing my process. We're in a context, in this business, a context in which most screenplays work on a very modest level of achievement, in that a lot of them aren't really written by what you would call writers.
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For me, film has been good because I'm able to work at top crack, working at something I love to do, in the only literary form in which you can still make money. There are no famous novelists, not as novelists used to be famous.
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The only answer to Are you Beatles or Stones? is, I'm both.
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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'm interested in stories about human beings. I don't care where or when they are set.
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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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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.
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Yeah, well I can't see a situation where I wouldn't at least re-write as a director something I was going to direct. At the moment, I wouldn't direct anything that I hadn't written. I can now say, as everybody else says, that it all depends on the script.
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I've got things I have to do in fiction to sort of register my existence, before I kick the bucket, but it will never be my living and I know it. Plus it never moved fast enough for me and lacked cut and thrust. I need to be in the real show.
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For some reason, I seem to work well with actors. I love working with them.
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I never write with particular actors in mind.
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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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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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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.
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