A Quote by William Monahan

London exists normally in a state of bleach bypass. There's the artistic context of "Blow Up" and "Performance" and all the Sixties and Seventies British films that I grew up on, because I did very much grow up on British films.
I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.
And I grew up watching all the British ones so when you hear that from an early age, it makes it much easier than you guys who don't grow up with Australian television or British television.
I grew up in a very British family who had been transplanted to Canada, and my grandmother's house was filled with English books. I was a very early reader, so I was really brought up being surrounded with piles of British books and British newspapers, British magazines. I developed a really great love of England.
It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general.
I didn't really grow up watching a lot of films. I grew up in the middle of Texas in a very rural area, so we were always outside fishing or playing a sport - we were never in front of a TV watching films.
I grew up looking at... going to the movies a lot, as much as they'd let you. I grew up in Manchester in the north of England in the '40s and '50s. I saw a lot of movies. They were all Hollywood and British movies. I didn't see a film that wasn't in English until I was 17 when I went to London to be a student.
At some point in time, in the future, people are going to refer to the Step Up films as the films they grew up on. Hopefully, that inspires them to get in dance films that are being made.
I usually take up short films when I am not tied up with feature films. Short films are easier to work on... because it doesn't take much of your time. The number of shoot days are lesser as compared to feature films.
British audiences are toughest on British films. So often, a British film is the last thing they want to see. If you please them, you really know you've made an impact.
I'm not at all fed up with British films, but I am fed up with playing upper-class people.
I grew up in the seventies, and films for us were larger-than-life, masala entertainers.
I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.
I grew up falling in love with music videos and those images: Hype Williams and Mark Romanek, David Fincher and Diane Martel and Paul Hunter, just from the video side. I grew up also watching a lot of independent films and foreign films.
So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.
Though I technically come from a film family, my father had stopped making films even before my brother and I were born. So I did not really grow up in a filmi environment. And when I was growing up, becoming an actress was still quite a taboo. And you may not believe this, but even my father did not want me to join films.
The US head of state grew up on food stamps. The British head of state grew up on the postage stamps.
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