Peter Morgan Quotes
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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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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 have always cited the decision by director Stephen Frears to shoot 'Mrs. Henderson Presents' before my script of 'The Queen' as the reason for my taking the plunge as a playwright.
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There are so many projects that I've written and had to abort because either I felt too distressed by what I was doing to the people who I was writing about, or they couldn't cope with it because their view of themselves was so far removed from reality.
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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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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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I don't understand and don't enjoy sci-fi, and it's just that if people aren't real, and they don't live in a real and recognizable society, I don't understand what to do.
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Movies feel like work, and reading fiction feels like work, whereas reading nonfiction feels like pleasure.
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I'm not an artist, and I want to take risks, and when the possibility of failure occurs, it's because the idea is all exciting or interesting as a high wire act, and sometimes you've got to fall off, just by virtue of the fact that you're constantly trying to evolve and do new things.
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If you don't belong somewhere, that outsider status you have gives you perspective. Of course, another word for outsider is 'exile,' and that's not fun at all.
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For 'Frost/Nixon,' I had eight people who were present at those interviews - they were all in the room - and when I interviewed each of them, they had a totally different narrative of events, to the degree where you thought, 'Were you all really in the same room?'
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The minute you become a leader of a country, you go into a very small club. You join that sort of pantheon of other world leaders.
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There are many, many things in my work that need redoing - never the structure.
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Self-destruction is such an interesting thing for a dramatist, and what's particular to Nixon is how human the failings were that led to his downfall.
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I can't relax when I'm watching a biographical drama because it's so close to what it is that I do that I just long for more fiction - so that I can switch off.
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In my peaceful moments, I yearn to write a bank heist like the one in 'Heat.'
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I'm quick to be upset. My feelings are close to the surface. There is not much gap between a thought and a feeling with me. It makes it difficult for some people. I feel too much.
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I wrote 'Hereafter' quickly and without mapping it out too much or being too schematic. As an exercise, I think that was incredibly important.
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It's important to me what the viewers think.
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Sometimes it's okay for an audience not to understand everything that's going on.
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I don't think of the crown as this glamorous thing. It's this murderous, bejeweled thing, the crown.
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In a way, I think of the press as my colleagues. I don't want to throw hand grenades at people who do something that's pretty similar to what I do. But at the same time, we all need to take ourselves seriously and be responsible as professionals. And there was a collective failure in the treatment of Christopher Jefferies.