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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

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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
Need
Needs
Bucks
Really
Million
Make
Movies
Think
Millions
Thinking
Movie
People
Less
Money

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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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I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.
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London matters to me because it's the center of what I do for a living and has been since Tudor times.
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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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Dialogue is used to reveal not what we want to say, but what we are trying to hide.
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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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I don't trust a lot of popular films because they seem to indicate that people would like to be super-heroes or vampires, and that's the last thing I mean by the useful mirror of art.
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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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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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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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I don't watch anything. I work so much. If I see a film, it's usually that I'll go in after working 15 hours and slam in The Bridge on the River Kwai or something.
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I'm more from a double world where I wasn't part of anything or invested in anything, because I was Irish, and very Irish, but also the other part of my family, not that it had airs, or money, was descended from the first minister on Cape Ann in the 1620s.
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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.
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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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If you see, as I do, in edited film, you're going to end up as a director.
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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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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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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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A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.
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It's interesting to think that my children know more about the process than many mature critics.
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