![]() ![]() When I came on The Wolverine, he didn’t lose his powers until the last five pages of the script and then gets them back. Scott Frank: The Wolverine was very frustrating for me, because there was a different regime running the studio at the time. The fact that we had the opportunity with Logan to start something from a blank page meant in a way that I had the chance to make an original film of my own about this character, as opposed to serving the grander needs of a comic book saga. I’m not implying that we were somehow denied self-expression on The Wolverine, but the material we were adapting defined itself. We wanted to do something more final, but for me – and I think the same was true for Hugh – there was not really an interest in going back again unless there was an opportunity for greater self-expression. The Japanese saga had its own definite world and limits, in the sense that it really told a specific story about Logan in a specific circumscribed universe and an exotic locale. In that context, we wanted to find a way to do things that had never been done with the character. James Mangold: Hugh and I set a goal that if we were going to make another, that it would be the last one. ![]() After The Wolverine, what did you feel you still wanted to accomplish with the Wolverine character? Hugh Jackman as Logan/Wolverine in Logan. He is also the creator of Godless, a Western mini-series that will be released by Netflix.Ĭreative Screenwriting interviewed Mangold and Frank separately about reuniting for Wolverine’s final cinematic adventure, why the film’s R rating wasn’t just about violence, and what surprising aspect the Wolverine character has in common with music legend Johnny Cash, the subject of Mangold’s 2005 film Walk the Line. ![]() Similarly, Frank’s writing has crossed a number of cinematic genres (and thus has been featured numerous times in Creative Screenwriting), and his first novel, a crime story titled Shaker, was recently released in paperback by Vintage Crime/Black Lizard. In addition to directing a traditional Western, 2007’s 3:10 to Yuma, both his 1997 film Copland and Logan are narratives that adhere to Western sensibilities. Mangold’s films cover the spectrum of genres, yet they also cross them. Laura is being pursued by Donald Pierce (Boyd Holbrook) and a group called the Reavers, and Xavier convinces Logan to fight the good fight one last time and lead Laura to safety to a mutant haven called Eden that may not actually exist. The two aged mutants come into contact with X-23, a young mutant named Laura (Dafne Keen) whose abilities and temperament are reminiscent of Logan’s own. Logan’s mutant powers – particularly his healing – are fading, and he ekes out a living as a limo driver in Texas, while he takes care of a nearly century-old Professor Charles Xavier (Patrick Stewart), whose vast mental powers are failing him. Logan is set in 2029, a time when mutants are almost entirely wiped out from existence. Later, Mangold returned to the screenplay with Scott Frank, the veteran Oscar-nominated screenwriter who co-wrote The Wolverine. After Mangold wrote an initial treatment for Logan, screenwriter Michael Green (co-writer of the upcoming Alien: Covenant and Blade Runner 2049) expanded Mangold’s treatment. One of the conditions was that Logan would indeed be the “Last Ride” for Jackman’s Wolverine. Leading Jackman through what is purported to be his final adventure in Fox’s latest X-Men movie is writer/director James Mangold, who previously directed Jackman as Logan in 2013’s The Wolverine.īefore agreeing to make Logan, longtime friends and collaborators Mangold and Jackman sought as much creative influence as they were allowed on a film that is both the third Wolverine solo movie, and also the tenth movie in Fox’s X-Men franchise. After eight previous films playing Marvel’s most famous mutant superhero, Hugh Jackman promises that Logan will be the final time that Wolverine’s iconic adamantium claws will extend from his fists. ![]()
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