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David Poland

By David Poland

Hereafter, writer Peter Morgan

I really like Peter Morgan. I like his work, but I also find that I really like the guy. This DP/30, which goes about 40 minutes, including a dissertation by me on the state of the internet (because he asked), makes it pretty clear why. No bullshit. He talks about the film and its rough edges. He talks about the process of writing it and then how it ends up with Eastwood, who wouldn’t let him rewrite, creating a bit of panic. And he talks about the good, bad, and odd about what he does for a living. Straight.

3 Responses to “Hereafter, writer Peter Morgan”

  1. Bonnie says:

    Bravo to Clint Eastwood and writer Peter Morgan. This is a deep Movie and not for the shallow. I saw it 3 days ago and am still thinking about it. The 3 sub plots were gripping and beautiful. This is for a thinking person. If you are into Jersey Shore or Miami Vice you won’t like it. This is true life and death, grief, loss, hope and love. Dramatic beginning and beautiful ending. One of the best movies I have seen. Just beautiful. Thank you!!!!

  2. Shawn-Marie Nichols says:

    I watched your play with deep interest. It was very moving and I sat and cried at the end.
    This is a difficult subject to address in any way. I really enjoyed it.
    Clint Eastwood once again did a great job. Peter wrote a wonderful play or story.
    Dickens and Shakespeare are equally revealing.
    Best of luck in the future.

  3. David Allevato says:

    I wrote a movie very similiar to this. I still have it in incomplete form from a story structure class I took in 2004 at CSUF the same year as the Tsunami you claim inspired the movie.

    I wonder if my story leaked out somehow via classmates since we students had to share our stories in class and make some kind of a thesis? I didn’t give a full account to the class, only tid bits for fear of being ripped off. I did tell a heavier account to the Professor where it counted.

    Hereafter is supposed to be a spin off from the film 6th Sense?

    At any rate the Afterlife genre exists. I think I can add more to another film like it because I actually had a near death out of body experience in an accident when I was 15 years old.


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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima