MCN Columnists
Noah Forrest

Frenzy On Column By Noah

Neil LaBute, What’s Up?/ Paul Newman is Family

What Happened to Neil LaBute? Neil LaBute has never been a filmmaker who shied away from controversial topics. Mostly, he has seemed fascinated by gender in general and, specifically, people’s need to penetrate – both literally and figuratively. In his earlier films, he takes a microscope to the machinations and manipulations of people that are…

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If I Had A Ballot Today

We’re just about nine months into this year and we’ve got the three months ahead of us that are usually best for “awards movies.” This has been a solid, if not exactly terrific, first nine months of the year and I thought it would be nice to honor some of the films and performances we’ve…

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Why Salo Matters Or: How I Managed Not to Vomit and Learned to Love Pasolini

For years, I’ve heard people tell me that Salo would mess me up. I’ve never walked out of a film because I was offended or because I was grossed out, but I’ve been told again and again that Salo would be the film that would really get to me. So I picked up the new Criterion DVD…

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Stu VanAirsdale of Defamer

Listen to Noah Forrest Podcast with Stu VanAirsdale

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Toronto From New York

It would be great to be in Toronto this week, sampling some of the movies that will be released to all the regular folks in the coming months. Alas, I didn’t get a chance to see Che, Burn After Reading, Apaloosa, Me and Orson Welles, The Wrestler, Blindness, The Brothers Bloom, Un Conte de Noel…

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Fall Movie Preview Part II

After the enormous box office success of “Fall Preview – Part I,” it seemed that a Part II was inevitable. So, let’s just pick up right where we left off, shall we? November 7 Madagascar: Escape 2 Africa (Dir. Eric Darnell, Tom McGrath) – Inexplicably, we have a sequel to one of the most boring…

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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