MCN Columnists
Noah Forrest

Frenzy On Column By Noah

Precious is Great Melodrama

I have to start this piece by saying that I’m a young, white male.  I’ve lived in New York City since the early part of this decade.  I have no idea what it is like to be a sixteen-year-old black girl in 1987 Harlem.  I cannot comment with any authority about whether or not the story told in Precious is…

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Scott Z. Burns Screenwriter of The Informant

In this podcast, Noah talks to Scott Z. Burns, the screenwriter of The Informant! about working with Sodebergh and Damon, unreliable narrators, and Dog Day Afternoon. Listen to Noah Forrest Podcast with Scott Z. Burns

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Rebecca Miller and the Trials of Woman

Every time the latest romantic comedy opens, I am befuddled when it’s successful.  Films like The Proposal or He’s Just Not That Into You make tons of money and when I ask why, I’m inevitably told it’s because women flock to these films. When I inquire as to why women would flock to such inane films, I’m told that…

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Lukas Moodysson Director of Mammoth

This week Noah talks to one of his favorite filmmakers, Lukas Moodysson, about his new film Mammoth, working with Gael Garcia Bernal and Michelle Williams, globalization, and Margot at the Wedding. Listent to Noah Forest Podcast with Lukas Moodysson

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Let’s Blow Up the Planet!

How is it possible that some critics have given 2012 a pass? I’m not an elitist. I understand that sometimes you just want to put down your twelve bucks and see a spectacle. I don’t always need my films to be contemplative or poignant, sometimes I enjoy seeing a purely visual feast that shows me some really…

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The Best Film of the Decade

As the aughts near a close, we’ll be seeing more and more lists dedicated to the best films of the decade. It’s only natural; as film fans and writers, we love to put things in lists. I like making lists, looking at other lists, having discussions about how stupid or smart a certain film writer…

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Why Do They Keep Making Them Like They Used To?

There’s rarely anything new under the sun.  Every movie we see today is similar to something else we’ve already seen: the look of the film, or the theme of it, or the plot or the characters. It’s all been done before. We accept that when we walk into a theater, we’re probably going to see a…

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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