John Logan
John Logan
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The analysis reveals great variation within New Orleans, but there is a general tendency for blacks and poor residents to have greater odds of being in harm's way, because they lived in less desirable, low-lying areas.
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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.
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The suffering from the storm certainly cut across racial and class lines. But the odds of living in a damaged area were clearly much greater for blacks, residents who rented their homes and poor people.
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Realistically, it's the great truism that screenwriters are fungible, that at the end of the day a studio is not going to want to fire a movie star. And they're really not going to want to fire a star director because the director has the hand on the tiller of a ship.
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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?
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They're both such great directors. Ridley, of course, is very visual; he brings a world of visual creativity to the work, as well as great emotional truth and sincerity. And Scorsese is just great as the synapses flash in his mind - you just stand there and try to grab them!
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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.
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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.
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Working on 'Skyfall' was the most enjoyable experience I've ever had on a movie, ever.
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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.
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I fell in love with Errol Flynn and Tyrone Power and Basil Rathbone and Hitchcock and Orson Welles and John Huston.
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I grew up on the Bond movies. The first one I saw was 'Diamonds Are Forever,' when I was a kid. I just loved them to pieces.
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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.
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When I started earning money from screen-writing, for a long time my only indulgences were books.