Peter Morgan Quotes
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It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.
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Nixon had lists upon lists upon lists. They were tragic lists saying, 'Smile more,' or, 'Be stronger - remember, it is your job to spiritually uplift the nation.' This understanding of his limitations is heartbreaking.
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There's something about the soul of a country that is somehow connected to the head of state.
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There is something fantastically post-modern about David Frost.
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Authorised royal biographers are so straitjacketed, deferential, fawning, and unadventurous that they can only be after a knighthood. Or they're completely scurrilous and insolent, like Andrew Morton or Paul Burrell.
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There's nothing wrong with anybody from any other country having a perspective on the British royal family. It would be interesting. But I just doubt that they would get the dialogue right.
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Ambition interests me because it's such a surefire indicator of damage.
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As a child, I grew up the son of German immigrant parents, so I grew up being teased and called 'Fritz' at school. When I married my wife and went to live in Vienna, I was teased for being a Brit.
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There are people who are bound journalistically to a code of ethics that means they can't quote something that isn't sourced, whereas what I do is entirely unsourced. I effectively fictionalise history and yet somehow aim at a greater truth.
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I'm constantly having to check my conscience about what I'm writing and the responsibility of what I'm saying.
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There were a couple of things I lost sleep over with the play 'Frost/Nixon,' so I went back and addressed them a bit more in the film.
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The films of which I'm most proud I've written are the ones that pivot on forgiveness.
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It is devastating, losing a parent. I don't really know what the effect is, but I suppose people might call me an ambitious man, and I'd say that an ambitious man is a damaged man.
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My experience is, I do a table reading, and it's literally like it's written in colossal neon lights what's wrong with the screenplay.
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I can't help slightly falling in love with every character I write about. And I quite like writing about people who are vilified.
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I do have an innate understanding of where a story should or shouldn't go, in a way that I don't think can be taught.
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Every dramatist will tell you that they know deep down what happened in the course of making that film and to what degree they took steps that were convenient and to what degree they took steps in telling their story that were dishonest. You know in your heart of hearts.
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There are many, many things in my work that need redoing - never the structure.
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Sometimes it's okay for an audience not to understand everything that's going on.
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I'm not being presumptuous, I hope, when I say that 'The Crown' is little bit like 'The Godfather.' It is essentially about a family in power and survival.
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I quite like the idea - just as an abstract idea - of 12 people's collective life experience and wisdom being this formidable thing. People say juries can be led - I think 12 people from different backgrounds, different races, different genders, different ages, it's hard to hoodwink.
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I just feel that if I'm English and writing about an American president, I have got to have someone on my side who can help me out when I'm lapsing into lazy or obvious European skepticism.
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For a younger generation to imagine a time where there was no security at airports - going around the world in the bar of a jumbo jet, 'Tell the plane to wait, I'm running late!' - there is something very Austin Powers about David Frost, a man who, in all seriousness, would approach women in a safari suit, with sideburns.
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I'm not good at fantasy, no. I have been offered stuff, and I can't get my head around it.