John Logan

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

“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?”

“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.”

“By the time I wrote 'Any Given Sunday' or 'Bats,' I sort of knew what my job was in terms of what a writer of dialogue does.”

“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.”

“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 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.”

“The themes, ideas and the characters from 'Skyfall' can obviously continue on, because it is a franchise, and it is an ongoing story.”

“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.”

“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.”

“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.”