Cinema is a visual language, and you’re always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he’s terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in ‘The Aviator,’ that became the series of images that told a story. John Logan Read Quote
I fell in love with Errol Flynn and Tyrone Power and Basil Rathbone and Hitchcock and Orson Welles and John Huston. John Logan Read Quote
Working with Ridley is working with one of the great filmmakers and one of the great raconteurs. You know, it’s like, a dinner with Ridley Scott or a dinner with Martin Scorsese? You just want to cut your arm off to get those. John Logan Read Quote
Whether you’re writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There’s always got to be something bubbling underneath that will erupt at some point. John Logan Read Quote
Honestly, not being evasive, but the great thing about Bond is that I have fifty years of movies – 23 movies and all the Ian Fleming novels and short stories, all of which are fodder. And when I’m working on the new Bond, I’m constantly going back to Fleming and the other movies – what are the bits and pieces, what are the resonances? John Logan Read Quote
I couldn’t write a happy movie or romantic comedy to save my life. Yes, Noel Coward’s an idol, but his plays are serious to me. ‘Private Lives’ and ‘Design for Living’ both have an edge. Without psychoanalyzing myself, I think I exorcise my demons in my work. John Logan Read Quote
I enjoy all forms of writing, but playwrighting is what made me what I am. Not only working with the ghosts of Chekhov and Ibsen and Shakespeare, but what it is to be a playwright, to be interacting with human beings in the live theater and affect people on such a direct, emotional level. John Logan Read Quote
