A Quote by 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.
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The very first film I ever saw was a pirate movie called 'The Black Swan' with Tyrone Power. And I thought that was great stuff. Of course, in those days, Technicolor was really Technicolor; there was no such thing as desaturation. Everybody looked super suntanned.
I think one of the London Film Festival strengths is that it's set in London but it's not about London. It's about the diversity of this city and it's about world cinema. And that's what London is - London is a place where its identity is always in a state of flux. So, this festival celebrates the way in which it is always changing. That's why London is a fascinating place and that's why the film festival is a fascinating film festival.
My works are about light in the sense that light is present and there; the work is made of light. It's not about light or a record of it, but it is light. Light is not so much something that reveals, as it is itself revelation.
The first time I ever thought about doing a film seriously, I was in London. I was about 17 years old. I was just standing in the street, a bit dazzled by an Antonioni bus wipe, which by the way are inherent in London, and I imagined a film set in London starting out with the riff from The Yardbird's "Heart Full of Soul", and now, how ever many years later, I've done it.
I was a 20-something woman living in London and didn't want to write about a 20-something woman living in London! It's an area well covered already, and people would probably have thought it was about me. I decided that if I wrote about an 82-year-old dementia sufferer, then no one could mistake it as a memoir.
I'll often get obsessed with something for about three days, and I'll be utterly into it, and I'll read every single thing about it possible. And then three days later, I'll just forget about it, and I'll be onto something else.
Wherever you are in the world, there's always something about the Australian light. There's something about the sharpness of it, something about the clarity of it, something about the colours of Australia. And hopefully, something optimistic about Australian painting too.
The California tract houses are like the mundane meeting the mystical. Sometimes if you're driving at twilight, and you see those houses, and they're starting to light up, there's something so beautiful, so ethereal about the fact that they're all pretty similar, set against this desert landscape and the light just hitting them a certain way.
I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow there's something special about living as an Englishwoman in Paris.
I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow, there's something special about living as an Englishwoman in Paris.
When I moved to London, you could park your motorcycle in the pavement, on the sidewalk. We would stay here and just leave it and go about your business. But now something was sort of encroaching in London. There's cameras everywhere. You can't do anything. You're not allowed to be in a group.
My first record was made in Termonfeckin, which is a small town on the north-east coast of Ireland. I had been in London, but it didn't click. So, at home, I didn't think about making something, just whether something could be made. There was no grand plan.
One of the things that's different about London and the English market is that theater and film and television are all based in London. It's not quite the same as in the States where if the playwright here wants a successful TV or film career, they're whisked away by Hollywood.
London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
We are always talking about being together, and yet whatever we invent destroys the family, and makes us wild, touchless beasts feeding on technicolor prairies and rivers.
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