British - Writer | April 10, 1963 -
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.
Peter Morgan
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The film 'The Queen' came about with a producer saying to me that he wanted me to write about the circumstances behind Diana's death. I think he was hoping that I would come up with some journalistic scoop that would identify an MI5 covert plot.
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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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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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Most historians are engaged in fiction.
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As a dramatist, you have 200 choices at every fork in the road. But the audience will reject it if you make the wrong choice, if they feel you are trying to shape the character in a way that suits you. It rings false immediately. People can sense when you're being cynical or schematic.
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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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Everything I write, I've written the first draft in Austria.
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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.
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Most of the things I write, I write on spec. And because I write them on spec, there's less interference. Because there's less interference, they tend to be better.
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I prefer my writing to do all the talking for me.
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I can't imagine anyone thinking, 'Oh good, it's awards season!'
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