MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

The Mount Rushmore of Forgettable Actors

It’s a troubling time in theaters right now, not for most moviegoers who see a movie or two a week, but for people like me who have an addiction; I don’t really know what to do with myself. I’ve caught up withDuplicity, I Love You, Man, and pretty much every movie I have any interest in…

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Wiley Wiggins Star of Sorry, Thanks

This week Noah talks to Wiley Wiggins about his new film, Sorry, Thanks, being in the cast of Dazed and Confused, mumblecore films, and great sci-fi films. Listen to Noah Forrest Podcast with Wiley Wiggins

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The Brilliance of Hunger

Hunger shed light on something of which I, being an American who was born two years after the events depicted in the film, was unaware. While I can’t say that I walked out of the film with a greater understanding of the political reason why IRA prisoners would deliberately starve themselves to achieve their goals,…

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South by Southwest by Northeast, or, Mumblecore Must Die

Sometimes I really love the direction that movie distribution is going in. With movie theaters becoming less and less of a place I’d like to visit because of rude crowds, rising ticket prices and sticky floors, I enjoy having the option of watching something at home. With HD becoming more of a standard and the…

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Mark Webber Director of Explicit Ills

This week Noah talks to actor turned writer/director Mark Webber about his new film Explicit Ills, working with Jim Jarmusch and Ethan Hawke, and starring in Nickelodeon’s Snow Day. Listen to Noah Forrest Podcast with Director Mark Webber

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10 Years Later: Still Missing Kubrick, Still Loving Eyes Wide Shut

When I found out that Stanley Kubrick died on the morning of March 7th, 1999, my eyes welled up with tears like I had lost a family member. It might seem silly that I was crying over the death of a filmmaker who I had never met, but it had only been about six years prior…

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Andy Fickman Director of Race to Witch Mountain

This week Noah talks to Race to Witch Mountain director Andy Fickman about action movies, the making of Anaconda and beating up The Rock. Listen to Noah Forrest Podcast with Director Andy Fickman

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I Hate It Because You Love It

Every year, after the dust settles post-Oscars, it becomes easier to see the recently nominated films more clearly. There is so much passion on both sides when it comes to almost every film that it becomes hard sometimes to parse through your nuanced feelings about a film. Similar to a political race, the Oscar nominations…

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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