A Quote by 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.
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Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
I love Sam Raimi. 'Evil Dead 2' is one of my favorite films. It's one of the best cheaper horror films I've ever seen. Horror films and suspense films can be made on a low budget without big stars and be very effective.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
When I started acting in the film industry when I was 16 years old, in 1980, I was going to all the revival theaters in Los Angeles. They were playing mostly films from the '60s and '70s, some from the early '20s and '30s, before that Hays commission. Those films did question things a lot, and there definitely was a switch in 1934. You can see very distinctly in 1934, it's harder to understand what the real culture was. Films made before 1934, you can really kind of see the racism, sexism, drug use, etc. that was going on at that time. And then it was all stopped.
I guess, in a sense, 'Audition' was a film that gave me an opportunity that I hadn't had up until that point. So that's definitely one that is important to me. Then there's 'Visitor Q' that kind of taught me that there are some kinds of films that can only be made as low-budget films that really wouldn't work as anything else.
There are two types of films - one made by the big-time producers, the other is low budget stuff made by some producers who make films for the heck of it, they complete their films for small amounts, sell it at low costs with almost no publicity.
Alternate between short films, long form films, with or without stars, small budget or big budget films. Basically a filmmaker needs to be flexible.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I made so many films I thought were great and they turned out horrible, and I made films I did not believe in at all, and 'Shadow Of The Vampire' was one of these films I did not believe in during the shooting. And then when I saw it I was surprised what they had made out of it. They edited for quite a long time.
So far, yes, I have been doing only commercial films because those are the kind of films that came my way. Those are the kind of films that I liked, but definitely I'm open to doing other kinds of cinema as well, and if something comes along - if I like a character - then I would definitely do something off-beat or edgy.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects.
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