The Hollywood Reporter - 31.07.2019

THE HOLLYWOOD REPORTER 39 JULY 31, 2019

creative ways to make it fit the box.

For example, limiting expense

with more subjective shots —

streamlining the number of

crashes, jumps, bullets, punches,

enemies, monsters ... whatever.

Normally some combo of that does

the trick. But if it still doesn’t, then

I’ll wipe the board and start again.

Is there going to be a Fast & Furious

in space?

I will say — what’s the best way

to answer this? — you’ll have to

wait and see. Listen, as long as the

stakes were set up correctly, then

I’m down for whatever.

Obviously there’s been plenty

of talk about the feud between

Dwayne and Vin. How does that

impact the franchise?

I don’t think there’s a feud per se.

I know there’s a lot of reports and

stories and stuff like that, but

they’re both nice, mature guys,

and they’re also businessmen. I

don’t think it has a major effect on

the Fast franchise. The characters

will continue to weave in and out.

Could there be Fast & Furious

content for the forthcoming

NBCUniversal streaming service?

For sure. It’s been a major focus

for the studio to expand the uni-

verse, and that would mean this

spinoff was the first chance to

widen the Fast world.

A TV series?

I can’t say, but just know there

are a lot of conversations that are

happening. It’s good if you’re a fan

of the Fast brand or tone. There’s

going to be a lot of opportunity

coming from a lot of places.

this? But I hear where you’re

going.” Communication, espe-

cially for a writer, is crucial.

How big can these movies get and

is there a danger that they become

too over-the-top?

Yes and no. The “no” is, as long as

the character journey is commen-

surate with the giant, crazy action

that is required to solve it, you

can never get too big. Yes, in that

it’s a fine line sometimes. We’ll

look at stunt sequences, and we’ll

be like, “We know we’re breaking

physics.” We totally get it. Does

it pop you out of the movie in the

moment that you’re watching it?

If it does, it’s out.

How much do budget concerns

factor into your writing? Have you

ever written anything and thought,

“That’s too expensive”?

The budget is a concern at every

stage, from concept to execu-

tion, and I always respect it. But I

choose to focus on what makes the

set piece right first, or what gives

the audience the most exciting,

satisfying ride. Then I look for

thing is, be honest. It’s the great
screenwriter survival tool, which
is: There is no “no.” There is “yes”
and “yes, but.” It’s a polite way to
acknowledge the idea, hear what
it is. Is it better than yours? Then
great! And if it’s not, and it causes
problems that they maybe haven’t
thought about, that’s the “Yes, but
here’s the thing and what about

“I’m not a giant

car guy, believe

it or not,” says

Chris Morgan,

photographed

July 16 at his

office on the

Universal lot.

RÉSUMÉ

CURRENT TITLE

Writer-producer

PREVIOUS JOB

Before working

on the Fast & Furious

franchise,

Morgan wrote the

screenplays for

2008’s Wanted with

Angelina Jolie and

2004’s Cellular, starring

Jason Statham

BIG HIT

2017’s The Fate of the

Furious, which grossed

$1.2 billion worldwide

Dwayne Johnson

and Jason Statham

(seated on sofa arms)

with Morgan (fourth

from left) and the

production crew of

Hobbs & Shaw.

“You can’t

beat a werewolf head

as a conversation

starter,” says Morgan

of this prop replica

from 1981’s An

American Werewolf

in London.

You were involved in 2017’s

The Mummy, which failed to launch

Universal’s “Dark Universe” fran-

chise. What lesson did you take

away from that?

The idea is — and should be —

pick the movie that you could

do and make the most amazing

representation of that and let

people love it. And if they love

it, then build on that, then build

your universe. I think starting

with a cinematic universe is

probably just overwhelming, par-

ticularly right now with so many

universes. The lesson is, just do a

great movie and build from there.

How has the WGA-versus-agents

standoff affected your work?

I’ve been overseeing and safe-

guarding Hobbs & Shaw, so I’ve

had my nose down, but I will say

it’s been very difficult for me. I

have the greatest agents in the

world [at ICM Partners]. They’ve

been allies, advocates and

friends. But there is a real issue

here. You want to make sure that,

on the big picture, agents are our

advocates. Their success should

be tied to our success. When that

comes into question as to where

they’ll make more money, that’s

the issue. I just want them to talk.

Get in the room. If you don’t like

an offer, fine. Talk about another

one. Just do it. You have so many

people on the agency side, and so

many people on the writer’s side,

and all of them are suffering. Just

talk. Find a middle ground.

Interview edited for length

and clarity.