A Quote by 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.
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Well, I kind of approach both of them similarly in (that) I always see it as a movie first because that's my background. Cindy Kelley, who has been my writing partner on my novels, she works more on the prose side and the description side of the storytelling because, obviously, there's a lot more of that in a novel than in a screenplay. You only have up to 120 pages in a screenplay.
I often say to my students in workshops that if they are trying to find literary inspiration, they should not go and read novels, because novels are more appropriate for series. Where as they should read short stories - that's the right format for you to be able to actually display the narrative in a film.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
The movies are fun, but I'm a novelist. In many ways, screenwriting is much easier than writing novels. I find screenplays twenty times easier to write than a novel.
I didn't know how story worked. So, when writing the screenplay, people introduced me to the science of it. And I'm grateful. I'll probably use that information for the rest of my career, in terms of writing novels or writing stories. And then, of course, to help me live a better story, a more meaningful story
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
The old days of screenwriting, and myths about screenwriting, are maybe over. It's a literary form, if you can wake up to it.
By 2015, the top 1 percent of families took home more than 20 percent of income. Wealth distribution was 10 times worse than that: the families in the top 1 percent owned as much as the families in the bottom 90 percent.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
As someone who came to New York in the 1970s, I was, like so many of my friends, a certified member of what we now call the 99 percent - and I was a lot closer to the bottom than to the top of that 99 percent. At some point during the intervening years, I moved into the 1 percent.
Right when I moved to L.A., I started writing. I wrote some screenplay. I'm sure it's terrible. But I wrote a screenplay by myself. When I first moved to L.A., I had no friends. I didn't know anybody. I just sat in a little studio apartment, and I wrote a screenplay.
This is what oligarchy looks like: Today, the top one-tenth of 1 percent owns almost as much wealth as the bottom 90 percent. The top one-hundredth of 1 percent makes more than 40 percent of all campaign contributions. The billionaire class owns the political system and reaps the benefits from it.
I see manuscripts and books that are spoiled for the literary reader because they are one long stream of top-of-the-head writing, a writer telling a story without concern for precision or freshness in the use of language. Some of this storytelling reads as if it were spoken rather than written, stuffed with tired images that pop into the writer's head because they are so familiar. The top of the head is fit for growing hair, but not for generating fine prose.
The more screenwriting you do, the more you become aware that particular scenes aren't going to end up in the movie because they're too expensive. That has perhaps changed the way I think about writing novels, actually, because now I write expensive scenes whenever I can.
I love writing journalism because it's all over in two hours and comes straight off the top of the head. Writing novels is soooooo much harder. It's the hardest thing I've ever done.
I don't mean to talk so much about screenplay writing. Who wants to talk about screenplay writing? I've taught it and I felt like a charlatan because what I was teaching I probably couldn't do.
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