A Quote by John Logan

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. — © John Logan
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.
Nabokov, who I loved more than any other writer when I was young, had such contempt for dialogue. When I was younger, I never wrote a word of dialogue because of him. I thought it was a childish part of a novel.
I'm a really slow writer. What I need to start writing on any given day, is a kernel, a line of dialogue, anything I can sense concretely.
Everyone who knew me as a child, they say they're not surprised that I became a writer because I wrote all the time. I don't remember writing, because I wouldn't have had the tools, but I think what they are saying is that I would pretend I was a writer.
I am a writer (and one day I'll be an author). For a long time I was a bookseller (who wrote) or a TV producer (who wrote), but for the last decade or so, its been "writer."
I don't believe any sort of traveler does a better job than any other sort of traveler at obeying traffic safety laws. It's difficult to foresee a camera program that can be used with bikers and walkers.
I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.
I don't think any good book is based on factual experience. Bad books are about things the writer already knew before he wrote them.
I knew it, I just knew it! The person who had the job of writing my life's dialogue used to work on a very low budget soap opera.
The best, most natural dialogue is usually written as if the writer is listening to dictation. You might get stuck on any particular point and have to question yourself; but normally, dialogue writes itself.
I knew that I was a good writer in high school and won awards, and I was the editor of my school newspaper. So I knew that I was a good writer and I wanted to somehow capitalize and sort of utilize a talent that I thought I had.
And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, 'Do cats eat bats? Do cats eat bats?' and sometimes, 'Do bats eat cats?' for, you see, as she couldn't answer either question, it didn't much matter which way she put it.
In the mid-nineties, I quit my job as a senior feature writer at 'The Mail' on Sunday in the U.K. and became a 'ghost writer,' collaborating with politicians, pop stars, psychologists, soldiers and sporting legends who needed help in penning their autobiographies.
I was the sort of kid who spent a Sunday afternoon prying little trees out of the foundation of his parents' house. I should have given in to the inevitable truth that this was the sort of person I would become, in the end, but I kept fighting it.
In terms of being able to adapt to any situation on any given night, in any given moment and that just comes with nearly twenty years of experience and paying attention to the guys that I've tried to emulate throughout my career.
I wrote 'Airborn' after completing three books about bats. I loved my bats, but what a treat it was to write about humans again. They could eat food other than midges and mosquitoes, they wore clothing, they slept in beds - all this struck me as wonderfully novel.
When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'
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