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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
But the web is to some degree a broth of psychopaths seeing what they can get away with in circumstances of anonymity. Look, we live in a world where one is unsafe in various ways because of the Internet. Anything can be said. Someone can look at your house from space.
William Monahan
Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics.
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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.
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I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.
William Monahan
London matters to me because it's the center of what I do for a living and has been since Tudor times.
William Monahan
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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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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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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When I started writing screenplays, as early as I started writing anything, I hadn't seen any ordinary screenplays. I saw movies and figured out how I thought they should be written.
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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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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.
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I was particularly anxious that I shoot the tires out of the class system. All it is these days is a hobby of certain masochists, and certain sadists.
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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.
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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.
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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 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.
William Monahan