A Quote by William Monahan

When I was young I was only thinking of writing, and whatever was going on was unreal and comparatively unimportant. — © William Monahan
When I was young I was only thinking of writing, and whatever was going on was unreal and comparatively unimportant.
I've been in the songwriting circuit as well. I've been in a couple writing camps where there are seven top writers or whatever, and they're writing songs for a young girl or a young guy that are coming up, and they're kind of nuts.
I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.
I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.
My office-hour reading is fairly ad hoc: I generally read whatever seems relevant to what I'm editing, writing, or thinking about writing.
But in psychoanalysis there are no unimportant thoughts; there are only thoughts that pretend to be unimportant in order to not be told.
We're living in a time where movies are very unimportant. They're not leaving a footprint on your heart. We're going to the movies now and we're going, "Oh, man, that was cool! That was thrilling! That was a ride!" But, we're not walking away anymore thinking, "I just experienced something that could change the way I live."
I'm really worried about what the world is going to be like when my daughters are young women, [when] they are young leaders or mothers or businesspeople - whatever they're going to be. I'm afraid they're going to have a less healthy and less biologically rich planet.
When people speak to me of the torment of writing, I can think only of what it was like before I wrote: once writing meant writing and not thinking about writing, I knew nothing of any torment.
The real danger of writing a great song when you're on something is that it might get you thinking that the only way to repeat that is by only writing when you're high.
If things are going well I can easily spend twelve hours a day writing, but not writing writing, just thinking and revising and taking a comma out and putting it back in.
Writing a novel is not merely going on a shopping expedition across the border to an unreal land: it is hours and years spent in the factories, the streets, the cathedrals of the imagination.
Whether you want to do a letter-writing campaign or a march or start a social media hashtag - whatever it is - know that there are people out there that are thinking exactly like you're thinking and are also afraid to take that next and very important step.
In the beginning there was only a small amount of injustice abroad in the world, but everyone who came afterwards added their portion, always thinking it was very small and unimportant, and look where we have ended up today.
If a young man is going to get ahead, if he is going to reach the top, he must be all wrapped up in what he is doing. He has to give his job - whatever it is - not only his talent but every bit of his enthusiasm and devotion.
My preference is for good writing. It doesn't matter if it's for film or TV. Whatever. It starts with the writing. Even though I've had problems with writers, it doesn't matter how great of an actor you are. If the writing is bad, you're going to struggle.
Whatever's going on with me at the time of writing is going to find its way into the piece. If that doesn't happen, then what the hell am I doing? So if I'm writing 'Inglourious Basterds,' and I'm in love with a girl and we break up, that's going to find its way into the piece.
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