MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

J. Michael Straczynski Screenwriter of Changeling

This week Noah talks with Changeling screenwriter J. Michael Straczynski about screenwriting, Clint Eastwood, television vs. film and the genius of Rod Serling. Listen to Noah Forrest Podcast with J. Michael Straczynski

Read the full article »

What I’m Thankful For – 2008

When I wrote this column last year, I had just started at MCN and I suppose one of the things I’m most thankful for is that I’m still here. And what that means, really, is that I’m thankful for you, the reader, for sticking with me for my first year and a half on the job….

Read the full article »

Arnaud Desplechin’s Christmas Gift to Us

Cinema is a constantly evolving organism, one that takes on new characteristics and techniques slowly but surely. If we look back at the cinema of the ’80s, there are subtle differences in how the films were framed, edited and scored. Acting styles are noticeably different from decade to decade; what was considered terrific acting in…

Read the full article »

Does Bond Matter?

My buddy Steve loves every single James Bond film. Every time I see him, he always wants to talk about Bond and to appease the guy, I always pretend to be interested. He has every single moment of every Bond film memorized and I think he is representative of a lot of Bond fans out…

Read the full article »

David Wain Director of Role Models

This week Noah chats with David Wain, director of the new film Role Models. They talk about Lost in Translation, Paul Rudd’s career, Robert Altman, the demise of Stella, and the rise of Wainy Days. Listen to Noah Forrest Podcast with David Wain

Read the full article »

24 Years Without Truffaut

When people ask me who my favorite filmmaker of all-time is, I usually answer by telling them, “Stanley Kubrick, closely followed by Francois Truffaut.” But on the days on which I’ve just re-watched Shoot the Piano Player or Stolen Kisses, I often reverse the names. It’s impossible for me to watch the mastery at work in a film…

Read the full article »

Frenzy On Column

Quote Unquotesee all »

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