MCN Columnists
Noah Forrest

Frenzy On Column By Noah

I Want to be The Son of Rambow

Director Garth Jennings is one half of the British production team known as Hammer & Tongs (along with producer Nick Goldsmith) and together they made a bunch of commercials and music videos. I took note of who they were about nine years ago when I saw their video for Blur’s “Coffee and TV” which I thought was…

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Leatherheads and The Ruins

When I finally caught up to George Clooney’s latest directorial effort, I found myself kind of astounded by the critical reception; most just shrugged it off as something of a light, fanciful throwback film. t’s true that it’s all of those things, but that doesn’t really get to the heart of the matter, which is that…

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Summer Movie Preview

Only the most elitist curmudgeons do not look forward to the summer movie season. Sure, it’s not likely that we’ll find works of art that stand the test of time, but that’s not what we look for during the summer months. I’ve long been of the belief that quality movies should be released year-round, not…

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This and That

My Blueberry Nights Wong Kar Wai is definitely a visionary filmmaker; perhaps one of the best currently working. This is a man who has credits like Chungking Express, Happy Together, In the Mood for Love and 2046under his belt. I’ve never been the biggest fan of the man’s work, but I’ve always respected the loving care…

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Can’t Get Him Pegged

Run, Fatboy, Run is a fine movie; it’s simple, entertaining and utterly forgettable. Still, for some reason this viewing experience was a profound disappointment – despite the fact that I knew going in that the film would be a strictly by-the-numbers affair, replete with all of the usual clichés of the tired genre of “lazy…

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Frenzy On Column

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon