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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

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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
States
Double
Nothing
Frank
Classic
Bill
Bills
Western
Came
Sinatra
United
Carter

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I think probably everybody works most on the beginning and the ending.
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If you see, as I do, in edited film, you're going to end up as a director.
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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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Wisdom is not having illusions, especially anything in your own mind that elevates you above others.
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For some reason, I seem to work well with actors. I love working with them.
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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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I don't like scripts leaking. On the other hand, the more real attention a script gets, the better.
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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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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 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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Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.
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If you write a screenplay that gets circulated, you have a bigger readership than any literary novelist. And it's an educated audience as well.
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Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics.
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Actors are players and if they're hot, or onto something, you let them go, or you and the actor can both get on to something. I always run out with lines as I think of them.
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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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As first time director, though, you're like a new officer coming up to be in charge of very serious veterans, and you're always going to have guys looking at each other for the first day until they realize you're not screwing around.
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Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.
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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.
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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 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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