"It's not a real comic. For copyright reasons, we had to make new ones. We used original period X-Men artists to do it, for instance Joe Quesada did those covers. This was an idea that I had with Scott Frank, my writing partner, that Logan and Charles and any other remaining mutants in the future would be living under the weight of their own legacy and celebrity – much like sports stars and heroes and astronauts and movie stars live under. And that it would be really interesting to examine what it's like to be a superhero in twilight, living under the weight of the exaggerations and truths of what's been told and said about you. So all of those things lived in our universe – comic books, action figures, all of it. It's all vintage in the future point of our movie, but it's a kind of legacy that is both something, for some of the characters they're proud, and for other characters it's a kind of noose around their neck."
"Our Charles is a very sweet character in this film. I think he's always been an incredibly sweet character. With the addition of his own physical fragility in this movie, he becomes an incredibly powerful paternal figure in the movie. Logan is more of a reluctant one, I think you can easily guess. But I think there's a lot of heart all around. That's the other thing audiences can expect, and I think I expect of myself. Which is just, I'm not trying to deliver – and have no intention of just making – a blood-fest."
"Statue of Liberty was a long time ago. There are no New Mutants," he says to Charles. "Maybe we were God’s mistake," Logan adds.
"What a disappointment you are. When I found you, you were pursuing a career as a cage fighter. You were an animal. We took you in. I gave you a family," Charles says.
"And they’re gone now."
"Logan…what did you do? What did you do? Answer me. Why are we here?"
"It’s for your own good." "You’re waiting for me to die."
The film opens abruptly with Logan himself, Hugh Jackman, sleeping inside a psuedo-futuristic limo. He is awoken suddenly and stumbles out of the car as if drunk and delirious. Four gangster-type thieves are trying to steal his tires. Logan is very matter-of-fact with them in telling them to stop, more cautious to them than angry. But, the gangster thieves are short tempered and simply shoot Logan to the ground.
Title card pops up: LOGAN
Logan lays on the ground, bleeding, hurt. He's slow to get up, not like we've seen him in past films where he's quick and angry. He's obviously not himself. He engages them again, as if drunk, but it's a ruse. He pops his claws, which come out slow, as if malfunctioning. But, they still come out. The gangster thieves attack and it becomes a bloodbath. Within a few seconds LOGAN is already the Wolverine film we've been waiting for; An arm is sliced off, blood spraying, claws through a head, blood spurting everywhere. This is the Wolverine you always wanted to see.
"We find him in a state of extreme disrepair. He's sick. I think the movie will reveal how exactly he's ill, but the idea is that we find him in a state much like the examples I was just saying. What is it like for a sports star or an astronaut when your knees start to give out and your elbows creak and it's harder to get out of bed and you have dizzy spells and you feel weaker and you're self-medicating with drugs or alcohol? This is kind of the reality he's living under, at this point in the movie."
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