John Logan Quotes

When I was your age, art was a lonely thing: no galleries, no collecting, no critics, no money. We didn't have mentors. We didn't have parents. We were alone. But it was a great time, because we had nothing to lose and a vision to gain.

But how can you be Peter Pan? You? The Boy Who Never Grew Up? That's not you. You have egg on your collar. You can't fly. You're not Alice. Alice was a blond little girl, I know it. You're lying to me.' And then they remember. What growing up really is: when they learned that boys can't fly and mermaids don't exist and White Rabbits don't talk and all boys grow old, even Peter Pan, as you've grown old. They've been deceived. As if you've somehow been lying to them. So following hard on the smile of remembrance is the pain in the eyes, which you've caused, everytime you meet someone.

You want to be a thing? Make yourself that thing.

The reason that I'm a writer today is because of Shakespeare and falling in love with Shakespeare when I was 8. That was through the movies, actually - through Olivier's 'Hamlet.' That was the first thing that got me to fall in love with Shakespeare and movies and everything in one big preadolescent rush.

We wanted 'Hugo' to be a cornucopia of cinema, a celebration of everything we do in movies.

Theater people say you are either a comedian or a tragedian, and I'm a tragedian. And the vexing, dark characters, the ones where I don't understand their pain or their anguish, they are the characters that appeal to me.

I grew up loving monsters. I'm just a total monster geek. When I was a kid, I had the Aurora monster models, and I would make them. I loved the Universal horror movies and the Hammer movies. I just had an affinity for them.

Working on 'Skyfall' was the most enjoyable experience I've ever had on a movie, ever.

When I started earning money from screen-writing, for a long time my only indulgences were books.

We can't live in a fantasy. Reality may be hard, but it's all we have.

‪I do get depressed when I think how people are going to see my pictures. If they're going to be unkind... Selling a picture is like sending a blind child into a room full of razor blades. It's going to get hurt and it's never been hurt before, it doesn't know what hurt is.‬

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.

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.

ROTHKO: (Explodes) 'Pretty.' 'Beautiful.' 'Nice.' 'Fine.' That's our life now! Everything's 'fine'. We put on the funny nose and glasses and slip on the banana peel and the TV makes everything happy and everyone's laughing all the time, it's all so goddamn funny, it's our constitutional right to be amused all the time, isn't it? We're a smirking nation, living under the tyranny of 'fine.' How are you? Fine.. How was your day? Fine. How are you feeling? Fine. How did you like the painting? Fine. What some dinner? Fine ... Well, let me tell you, everything is not fine!!
HOW ARE YOU?! ... HOW WAS YOUR DAY?! ... HOW ARE YOU FEELING? Conflicted. Nuanced. Troubled. Diseased. Doomed. I am not fine. We are not fine. We are anything but fine.

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.

And if I sit in that room at the top of the house and I think about my life and if I shut my eyes from time to time and imagine being warm in the summer and I hear the bees buzzing and for a moment I truly am Alice in Wonderland, do you have the heart to tell me I am not?

If you look at the muscularity of something like 'Wicked' and the way it has just spawned sort of generations of young people wanting to get involved in the theatre - it's brilliant.

Everything worthwhile ends. We are in the perpetual process now: creation, maturation, cessation.

Behold congenial Autumn comes, the Sabbath of the Year.

Any adaptation - and I've done three in my career. I did 'Sweeney Todd' and 'Hugo' and 'Coriolanus.' It's important to find what makes it a movie as opposed to just a film presentation of a stage play.

I fell in love with Errol Flynn and Tyrone Power and Basil Rathbone and Hitchcock and Orson Welles and John Huston.

I'm not interested in characters who aren't broken. I'm not interested in happy people. It just doesn't draw me as a writer.

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?

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.

You would have loved Jackson. He was a downtown guy, a real Bohemian. No banker's hours for him, believe you me. Every night the drinking and the talking and the fighting and the dancing and the staying up late; like everyone's romantic idea of what an artist ought to be: the anti-Rothko... At his worst you still loved him though; you loved him because he loved art so much... He thought it mattered. He thought painting mattered... Does not the poignancy stop your heart?... How could this story not end in tragedy?

Goya said, 'We have Art that we may not perish from Truth.'... Pollock saw some truth. Then he didn't have art to protect him any more... Who could survive that?

I was walking up to my house last week and this couple was passing. Lady looks in the window, says: 'I wonder who owns all the Rothkos.'... Just like that I'm a noun. A Rothko.

I would rather die on my feet than spend a lifetime on my knees

When I look at my own children, Mrs Hargreaves, I think ... I think I know what childhood's for. It's to give us a bank of happy memories against future suffering. So when sadness comes, at least you can remember what it was to be happy.

Everything about 'Hugo' to me is poignant, from the broken orphan to the old man losing his past to the fragility of film itself.

In the place called Adulthood there are no Cheshire Cats ... for they can't endure the suffering of the place.

You have a lot to learn, young man. Philosophy. Theology. Literature. Poetry. Drama. History. Archeology. Anthropology. Mythology. Music. These are your tools as much as brush and pigment. You cannot be an artist until you are civilized. You cannot be civilized until you learn. To be civilized is to know where you belong in the continuum of our art and your world. To surmount the past, you must know the past.

But a generation that does not aspire to seriousness, to meaning, is unworthy to walk in the shadow of those who have gone before, I mean those who have struggled and surmounted, I mean those who have aspired, I mean Rembrandt, I mean Turner, I mean Michelangelo and Matisse ... I mean obviously Rothko.