110+ William Monahan Quotes On Slavery, Education And Religion

William Monahan is an American screenwriter who won an Academy Award for Best Adapted Screenplay for The Departed. He is known for writing the screenplay for the 2006 film Kingdom of Heaven and the 2007 film Body of Lies. Monahan is also the author of several novels including Light House and The Confidence Man. Following is our collection on famous quotes by William Monahan on slavery, education, religion.

Top 10 William Monahan Quotes

1. 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.
2. I think that gambling is a synthetic experience and that if you have any balls you gamble with your life. I have. So can everybody else.
3. I'm a homebody, as many writers are, and need to be by myself, and I like to be by the Atlantic Ocean.
4. 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.
5. I have a lot of stuff that I never published because I always had a sense that novels were not finally going to be the way I made my living, because the form was dying commercially.
6. 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.
7. You just have to know what you want and what you're doing and it leads to a kind of general well-being, which I think you sensed when you were there.
8. London matters to me because it's the center of what I do for a living and has been since Tudor times.
9. I'm interested in stories about human beings. I don't care where or when they are set.
10. I write drama in the English language. If I wasn't working in London I'd be doing something wrong.

William Monahan Short Quotes

• I sound like Warhol but only because I'm tired.
• I never write with particular actors in mind.
• Casting is all about availability, as much as anything else.
• You don't write for actors. Actors come for characters you've made up.
• Casting is always subject to availabilities.
• In all honesty a gangster picture was the easiest kind of film for me to get made.
• I don't like scripts leaking. On the other hand, the more real attention a script gets, the better.
• Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.
• I think probably everybody works most on the beginning and the ending.
• It's interesting to think that my children know more about the process than many mature critics.

William Monahan Quotes About Education

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. — William Monahan

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

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. — William Monahan

William Monahan Quotes About Love

For some reason, I seem to work well with actors. I love working with them. — William Monahan

I love editorial and sound and music, and I was working with the best people, so you learn a lot. — William Monahan

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. — William Monahan

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. — William Monahan

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

William Monahan Famous Quotes And Sayings

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. — William Monahan

If TV seems improved, I think it's been enhanced by violence and sex permissible on cable, as well as better cinematography, but in the end it's really only soap operas like your grandmother's afternoon "stories" and that's all it wants to be or has to be. — William Monahan

I've always been a bit repelled by "Sunset Boulevard", which is wrong about almost everything it touches, whether it's fame, Hollywood, screenwriters, or old ladies. Sunset Boulevard would only make sense to me if it was about John Gilbert and the pool boy. — William Monahan

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. — William Monahan

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. — William Monahan

The era I love most is the Federal period, just after the Revolution and the formation of the United States. The birth of America as a nation coincided with the Romantic era and I've always been thoroughly into the Romantics and I've always been thoroughly into America, particularly at the time when it was a brand new idea, when it was something brand new in the world. It was a very exciting time in the world because of the birth of America — William Monahan

The novel ceases to be looked at as a novel. Such is the overwhelming power of motion pictures. Gore Vidal pointed out that the movies are the only thing anybody's really interested in. The association with movies and movie money can, and certainly did in my case, occlude a novel as a novel. — William Monahan

I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry. — William Monahan

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. — William Monahan

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

There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film. — William Monahan

Wisdom is not having illusions, especially anything in your own mind that elevates you above others. — William Monahan

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. — William Monahan

You evolve in the ways in which you are precious. When you are the director, you are also continuing to write on the floor as you go along. — William Monahan

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. — William Monahan

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. — William Monahan

Getting the correct writer is simply like casting. You wouldn't hire an actor in order to tell him how to work. He knows how to work, which is why you hired him. — William Monahan

I think the only real referent for anybody writing drama is probably Hamlet. You have the most extreme tragic drama, this sort of blood-boltered thing, but it's also very funny, which is simply a matter of the playwright being alive and observant and entertaining, and understanding not only the world but what will play. — William Monahan

The thing about movies is if somebody has an idea that works, it's in, and I say that as a screenwriter as well as a director. — William Monahan

As a director, you're given a tremendous apparatus to work with, and very great talents are available to you. — William Monahan

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. — William Monahan

There were days when you would get the TV listings from The Globe and The Herald. Video was out, but nobody could afford it...expect for my uncle George, who was a second father to me, and had every film in the world, and every book. — William Monahan

It's been very much in the blood since I started imagining films or shooting with 8mm when I was a kid. I made some films and thought about films, but then I went into writing. Becket is something that's definitely on the cards. We have to see where that fits in the schedule, because it's a big picture and I have a lot of writing obligations at the moment. I'm wary of anything with a budget over a certain amount. — 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. — William Monahan

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. — William Monahan

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. — William Monahan

Refreshing honesty has been getting me in trouble since I was five, but it's probably had some positive effects - like not being a liar. — William Monahan

I learned from Ridley [Scott] how to come out of the trailer at a fast walk and make your decisions and keep it going. We were very much on time and under budget, as they say. That was a very important thing for me and very satisfactory. — William Monahan

Dialogue is used to reveal not what we want to say, but what we are trying to hide. — William Monahan

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. — William Monahan

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. — William Monahan

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. — William Monahan

I have no reason as a director to have films go up in versions that I don't like. My only experience of film after ten years is honestly that if a picture doesn't get second-guessed you're looking at four Oscars, and if a picture does get second-guessed, you're not. I've got an advanced degree in that lesson. — William Monahan

When I was very young, you would get the TV listings from The Globe and The Herald, and you would basically go through them, circle things, and map out your viewing week. — William Monahan

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. — William Monahan

If you see, as I do, in edited film, you're going to end up as a director. — William Monahan

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

Doing crime films...maybe it's to some extent a matter of taste. Certainly my first novel had a criminal element and was about the similarity of criminals and artists. Pretextually, it was sort of a money bag thriller. But it was aggressively not what it seemed to be. It was kind of Duchamps. — William Monahan

They're done by guys who have talked a good game and then have scrambled together the simulacrum of a drama, so actors are habituated to sometimes having to save a picture on the floor because it's usually part of their job, but they'd rather have a writer doing his job, so that they can do theirs. But I like nothing better than working with actors. — William Monahan

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form. — William Monahan

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. — William Monahan

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. — William Monahan

My gratitude to Ridley [Scott] isn't anything new. I named one of my kids after him. But he's a very important person to me. — William Monahan

I can work in London. A British journalist asked me if I had any trouble working with an English crew, as an American, and I said I might have if I was from Scotland, but I'm from Massachusetts, which is sort of Oxfordshire, but more intellectual. That's kind of unforgivable but you've got to let them have it. — William Monahan

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. — William Monahan

I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition. — William Monahan

Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics. — William Monahan

I always write as I like to write, and I've been thinking about it because I honestly didn't realize how different my stuff is, until I started looking at other people's scripts as a producer. — William Monahan

On historical you take the known facts, dramatize them, and then stitch them together by invention. It's a projective thing. — William Monahan

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. — William Monahan

When I was young I was only thinking of writing, and whatever was going on was unreal and comparatively unimportant. — William Monahan

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. — William Monahan

That's absolutely true, but one problem with the digital revolution, which may tie into what I said earlier, is that there can be a collapse of quality. You may not have liked the decisions made by publishers in the past, you may not have liked the decisions made by magazine editors or newspaper editors in the past. At least there was some quality control — William Monahan

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. — William Monahan

The old days of screenwriting, and myths about screenwriting, are maybe over. It's a literary form, if you can wake up to it. — William Monahan

Poetry died as a commercial form and then it died as a serious art form. No one serious touches it. It used to be that somebody like F. Scott Fitzgerald could make a high middle-class income from working as a short story writer for the Saturday Evening Post and other outlets. That doesn't happen anymore. It used to be that a legitimate playwright could make a living on Broadway from writing decent plays. — William Monahan

I cut London Boulevard pretty aggressively, but I liked the transitions and the elliptical feel that I got. It's not an exceptionally easy film to follow. You have to know that the paparazzo looks like Mark David Chapman. He hasn't got an expositional sign on him. — William Monahan

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. — William Monahan

It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general. — William Monahan

Look at what people are trying to conceal, and you’ll see that they’re revealing everything. — 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. — William Monahan

The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore. — William Monahan

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical. — William Monahan

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. — William Monahan

I started out as a writer with an hour removed from Kingdom of Heaven. You have to make one print for the entire world, and that's something that influences the theatrical cuts of pictures to an enormous degree. It's a reality. You can't have one cut for the Sunni, and one for the Shia, and one each for Tories, Whigs, vegetarians, one cut for the Cineplex, and one for literary intellectuals. — William Monahan

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. — William Monahan

I have a library room with four desks in it. On one of them is a spec, on one of them is a present work, on one of them is reading for a future work, on another desk is a novel I'm not doing until I'm a hundred and fifty, and things like that. But, contractually speaking, you just do one at a time when it's on and paid and live. You do your real day on one project and the rest is just literary life. Or intrusions. — William Monahan

I came into screenwriting from an odd direction, because the first screenplay that I read was and is better as writing than the top one percent of literary novels. — William Monahan

I don't think the latest Star Wars pictures have any artistic intentions, but the original picture opened up epic science fiction. — William Monahan

I had a long writing history behind me before I got into anything in film. It comprehended science fiction, it comprehended historical, it comprehended, you know, just about everything that you can think of. — William Monahan

I never viewed screen drama as a vulgar form, or a lesser one, and I've never written it left-handed. — William Monahan

Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma. — William Monahan

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation. — William Monahan

I had a guy at the Groucho bar clawing at my arm nearly in tears saying that until he saw The Departed he thought Americans were the ones on TV. I didn't know you had accents. I didn't know you had a class system. I didn't know you were like us. To which the answer is, probably only where I grew up, but while we're at it don't watch television and think it's the United States of America. — William Monahan

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. — William Monahan

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. — William Monahan

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. — William Monahan

You never know what people are going to go and see. — William Monahan

In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings. — William Monahan

If you decide to do Hamlet in a funny hat staged in a ruined factory, it doesn't make you Shakespeare. — William Monahan

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. — William Monahan

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. — William Monahan

A criminal has a kind of freedom by definition that the ordinary citizen doesn't have. The criminal's able to realize himself in ways not available to the general population, if you want to put it that way. They're interesting and unpredictable. Characters always have to break some sort of bound or other to be interesting. It also helps if they're paradoxical. — 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

All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then. — William Monahan

Life Lessons by William Monahan

1. William Monahan's work shows us the power of collaboration and the importance of taking risks. He has written for some of the most successful films of the last two decades and his willingness to take risks and collaborate with others has led to his success.
2. William Monahan's work also demonstrates the importance of hard work and dedication. He has written numerous scripts and has worked with some of the biggest names in Hollywood.
3. Finally, William Monahan's work shows us the value of staying true to your vision and not compromising on your creative ideas. He has consistently written scripts that are true to his own unique voice, and this has been rewarded with critical and commercial success.