Zitat des Tages von Peter Morgan:
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.
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.
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.
In my peaceful moments, I yearn to write a bank heist like the one in 'Heat.'
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.
If you start to analyze what you do, it can paralyze you.
Movies feel like work, and reading fiction feels like work, whereas reading nonfiction feels like pleasure.
By nature of the job, most actors are striking, remarkable, and alpha.
It is a fairly serious thing that you're doing if you're writing about people who are still alive and who still have a role in public life. Sometimes you don't want to be reminded too much of the responsibility.
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.
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.
I don't think of the crown as this glamorous thing. It's this murderous, bejeweled thing, the crown.
I can't imagine anyone thinking, 'Oh good, it's awards season!'
I'm not good at fantasy, no. I have been offered stuff, and I can't get my head around it.
Barack Obama winning the election had an instant impact on everything - race relations, national self-esteem, tolerance. It also had an instant affect on 'Frost/Nixon.' At a stroke, instead of being a piece that reminded people of the agony they were in, it became an uplifting message about the agony they had escaped.
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.
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.
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.
There is something fantastically post-modern about David Frost.
For 'Frost/Nixon,' everyone I spoke to told the story their way. Even people in the room tell different versions. There's no one truth about what happened in those interviews, so I feel very relaxed about bringing my imagination to the piece. God knows everyone else has.
The films of which I'm most proud I've written are the ones that pivot on forgiveness.
I wrote 'Hereafter' quickly and without mapping it out too much or being too schematic. As an exercise, I think that was incredibly important.
Generally, I read nonfiction. There's very little fiction that I enjoy enough to spend my time reading. I am generally a nonfiction guy.
Sometimes you are lucky enough to get offered things, and there is no rhyme or reason. I am very lucky because I come from England, and you have a whole range of things offered to you, from television plays and shows and theatre, so much more to explore, so it's never really money.
I can't help slightly falling in love with every character I write about. And I quite like writing about people who are vilified.
I am drawn to characters so full of internal contradictions. Idi Amin was one. I loved writing him.
People bang on all the time about whether what I've done is the truth or not. Well, to me, history is just a series of elaborate fictions.
It was so interesting to discover Nixon was a Californian. I always think Nixon should come from a cold place.
There's something about the soul of a country that is somehow connected to the head of state.
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.
Once I start writing about somebody, I become very protective of them.
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.
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.
I think I stumbled upon a voice people associate with me with 'The Deal.'
I wrote a draft of 'Playboy' for Warner Brothers, and it was impossible to really be independent of Hugh Hefner. In the end, Hugh Hefner was unable to take the back seat required to be able to write something about him that I felt I could do.
It's important to me what the viewers think.