A Quote by William Monahan
I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.
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Because You have called me here not to wear a label by which I can recognize myself and place myself in some kind of a category. You do not want me to be thinking about what I am, but about what You are. Or rather, You do not even want me to be thinking about anything much: for You would raise me above the level of thought. And if I am always trying to figure out what I am and where I am and why I am, how will that work be done?
If the movie is terrible you can have fun. You can joke about it and have a ball. The movie is already sort of established as a kind of extraordinary piece of work even though it hasn't opened yet to the public. It is harder because you can't go against it and you can't be interesting. You have to go with the flow. Although one is very happy to be in it, it is sort of hard to talk about it. It is hard to talk about successful. It is much easier to talk about failure.
My thought process when I'm on the court is always thinking about getting better, and thinking about how I'm playing. Thinking about it as a process, as the big picture and what I need to work on, instead of being close-minded and thinking, 'I'm so nervous and have to win this match, if I don't, it'll be the worst.'
I'm a very private person, so obviously I don't enjoy talking about more personal matters. But at the same time I care very much about my work and I would like people to know that it exists. So I appreciate that there's a meeting point, where I would like people to know about the work that I'm doing, and that requires me to talk about it.
I get an idea about something. I just start thinking about it, and then I get onstage and I talk about it, and then I think about it some more and talk about it some more, and think about it some more and talk about it some more, until it starts to take a shape.
I think in the whole field of questions about what we take to be "real," one of those questions is about the self. When you talk about the self we're always talking about whether it's a construction and it's a construction we're always in the process of working on. I don't think that work ever ends, to some degree.
I'm ephemeral as much as I can be, so I started to think about the idea of not working. It's really about a change of attitude. It's not so much about stopping, but about re-thinking the meaning of one's production.
I've always been very shy and sheltered; I think it was a good way of starting to communicate with people. I was taught as a child never to talk about myself, never to talk about my emotions. Of course, now I talk about myself constantly. Now I have to take reverse est.
When people ask me about what I learned from martial arts, I don't talk about favorite punches or kicks, or about fights won or lost. I talk about learning self-discipline, about ethics and manners and benevolence and fairness.
Since the election [of Donald Trump], I've been thinking about a lot of theory. Lots of [Michel] Foucault and [Karl] Marx, thinking about different systems, thinking about power. Trying to figure out what I can take and learn from history as a tool for getting through whatever is happening right now, which feels very significant and major.
I was into music from a very early age, and I was also - I don't really talk about this that much - really into horses. I learned a lot about rhythm and about voice from that.
Let’s talk, you and I. Let’s talk about fear. The house is empty as I write this; a cold February rain is falling outside. It’s night. Sometimes when the wind blows the way it’s blowing now, we lose the power. But for now it’s on, and so let’s talk very honestly about fear. Let’s talk very rationally about moving to the rim of madnessand... and perhaps over the edge.
The thing about writing or making art is that I'm not thinking about that stuff while I'm doing it. Like the driver's ed kid, in retrospect I see that that was meaningful, and I felt close to him in that way, but at the time I just thought it was fun to draw, and that's all it was. I think that's what's weird about life and about making art. You have to talk about it later. I guess I should be prepared to talk about it now. That is why I'm here. But again, pass.
I'm not really scared of getting work. I gave up worrying about that a long time ago because there's no point. I'm very much about living in the moment and taking each day as it comes.
I'm somewhat old-fashioned, and I still talk about playing a part. I don't talk about my work - 'I've seen some of your work' - there's not much work in it, is there?
One of the great things about being commander in chief is getting to know our men and women in uniform in a very intimate way, whether it's visiting Walter Reed and seeing our wounded soldiers, or being on a base and talking to families, or interacting with them on missions. They're the best of the best: always thinking about the mission, not thinking about credit, not thinking about who's up front.
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