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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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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier