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In Boston terms I was everyone and no one, with no social investment, no social insecurity, sort of Imitation of Christ in one hand and The Education of Henry Adams in the other, and because I was part of nothing I could observe everything without having anything personal invested in the findings.

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
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Imitation
Everything
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Observe
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More quotes by William Monahan

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For some reason, I seem to work well with actors. I love working with them.
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Wisdom is not having illusions, especially anything in your own mind that elevates you above others.
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If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.
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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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I sound like Warhol but only because I'm tired.
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If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.
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As a director, you're given a tremendous apparatus to work with, and very great talents are available to you.
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You never know what people are going to go and see.
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I never work until I have a deadline. You have to fit so much in a given day that you just don't get serious until you know when the deadline is.
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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 don't think the latest Star Wars pictures have any artistic intentions, but the original picture opened up epic science fiction.
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Novelists who get shitty about screenwriting invariably can't do it, or they can't hack it in the world of what's really, in truth, very bold and very public enterprise.
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Because you're running an enterprise with two hundred-odd people, and it's really your responsibility to keep it moving quickly. So you have to know what you're doing, do it, and move on.
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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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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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I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
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Henry Adams was scared shitless, politically, by the discovery that England isn't alien to a boy from Boston, but it was true, and it is true. It's a Boston and coastal Massachusetts thing. Henry Adams blocked it out.
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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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Casting is always subject to availabilities.
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I don't think you need $35 million bucks to make a movie. I think what people should do is make a lot more movies for a lot less money. You can really do it.
William Monahan