Peter Morgan ed il copione di Hereafter

In una bellissima intervista su Deadline, Peter Morgan racconta come il suo copione originale di Hereafter, sia diventato il film di Clint Eastwood, senza alcuna riscuttura o modifica, passando anche tra le mani di Steven Spielberg.

ne viene fuori ancora una volta l’eccezionalità di Eastwood ed il suo approccio istintivo e senza manie di controllo.

I sent it to my agent and he then sent it to [producer] Kathleen Kennedy and she sent it to Steven Spielberg. He rang me up. Having a phone call from Steven Spielberg was just a fantastic rite of passage. I loved it, and he was very focused, very likable, strictly business, and really sharp. The phone call lasted about three hours and I loved his ideas. I then changed it based on the notes he’d given me and was thrilled with it. I then got a phone call saying, “Would you please come out to California as soon as possible.”

So I jumped on a plane and went to the Universal lot for a meeting at 1 o’clock, and I went into the boardroom, and then an assistant came in and drew the curtains and said Mr. Spielberg is taken to have his meetings in the dark and she turned all the lights off. And then she left and I thought then, “Well, he’s really not here. It must be an imposter. But soon there he was, and we had a really long lovely meeting in which he said the notes he had given me had harmed the script and I said, “No, it was good,” and he said, “No, no, it isn’t good, and I damaged your work, and I don’t want to touch it again, and I want to go back to the original script that you sent me, and I want to give it to my friend Clint Eastwood.” 

This was just getting surreal. So I thought, “Sure, let’s give it Clint. What the hell. You’re clearly no good.” [Laughs]. Then I got this phone call saying Clint Eastwood wants to do it, and I said, “Wow, I can’t wait to start working.” But I not only didn’t have to do any rewrites, I wasn’t allowed to. I wondered why not since it was my material and I want to change it. But Clint said, “Don’t touch it. Don’t change it. I like it as it is. I want to make it as it is.” 

I’m not accustomed to that at all, I am accustomed to pain and self-destruction and draft after draft. On the one hand, you might think for a writer this was a dream come true. But I’ve been thinking about it and the best answer I can come up with is, it is like you were being told you have to do a nude scene in a film and you have to act in it and you have to prepare for it by eating doughnuts for six months.

It feels like “You can’t film that script. You have to go to the gym. You have to lie on a beach. I mean you aren’t going to put that to camera.” And I was very very nervous. But at the same time it is precisely that exposure and that intimacy that you respond to in the film — that honesty.

We finally came to this rather profound difference in our approaches. He likes the mess, the imperfection, the instinct. And it is full of bumpiness: it’s full of things that don’t quite add up or work that could be honed a bit more. But his view is the looseness and the imperfection allows an audience in.

And it’s sort of the antithesis of overworked controlled freakery that so much of the entertainment process is. And there was something about the rawness of the first impulse that he wanted to preserve and protect. It’s a very different way of working than I’ve come across before.

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