A Quote by 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.
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It may be time for serious literary novelists to take back some of the subject matter we abandoned to hack novelists and the movies.
I'm still a really shitty programmer, but I know enough to hack a prototype together.
'Heroine' is about a declining and imbalanced superstar - a very brave and bold role. I wanted to test whether I could carry a role like this. I have given 200 per cent to this role. She's a very complex character, very aggressive, manipulative and bold, yet she's very fragile.
I was just shitty, shitty, shitty with money and I finally, when I really started making money, I had to get somebody to sit down with me and learn how to manage my money.
I know Donald's [Trump] very praiseworthy of Vladimir Putin, but Putin is playing a really tough, long game here. And one of the things he's done is to let loose cyber attackers to hack into government files, to hack into personal files, hack into the Democratic National Committee. And we recently have learned that, you know, that this is one of their preferred methods of trying to wreak havoc and collect information.
I really think more fledgling novelists - and many current and even established novelists - should get out into the real world and cover local politics, sports, culture, and crime and write it up on deadline.
One of the things about the modern world is that the public and the private - which is not the same as the public and the personal - but the public and the private... it's very, very much harder than it used to be to have things that are private and things that are public.
If the North wanted to hack anything in the world, anything in the world, really, they are going to go hack a movie? Really?!
We need a visionary leader with very big and bold ideas. This is a very big, very bold country.
The African-American tradition, in the main, is very, very church-based, very, very Christian. It accepts, you know, certain narratives about the world. I didn't really have that present in my house.
The truth is that I know very few novelists who have been satisfied with the adaptation of their books for the screen.
People who have grown up in a world where this was not a concern and suddenly start hearing about climate change - it's very difficult. It's a very, very abstract concept. So we need to work on making it very educational and very, very clear, in very simple terms.
My family, although they're very large on both my parents' sides, they don't know much about their family tree. Occasionally, they try to dig, but they can't get very far, and it's baffling. In Dublin, it seems that so many public records were wiped out; it's proven to be very difficult, so I know very little.
Being sad and going out on terrible dates and having horrible breakups and then having a shitty job and then quitting the shitty job and then wondering if you shouldn't have quit the shitty job and then getting a new shitty job that you get fired off of after six weeks, it's all so good for your writing.
It's terrifying to think about all things that were awful for you. But for me, sharing all of them was so satisfying, because people read them and get to go, "Oh, okay, I don't have to feel so shitty about that," or maybe even, "Why was I feeling so shitty about that? I should own that and learn from that." Those are the sorts of stories I want to tell.
I think screenwriting gave me more of an affinity for plot - my first novel, 'Me and Earl and the Dying Girl,' doesn't have a very sophisticated roadmap. But screenwriting required me to learn a higher level of plottiness, and I tried to bring that to 'The Haters.'
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