MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

Frenzy on the Wall: How to Fix the Oscars

I am an unabashed fan of the Academy Awards. I have watched every telecast since I was a young boy and I still anticipate Oscar Day as much as I always have. Historically, I have never really been a fan of the choices the Academy has made, but I still see the show itself as…

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Frenzy on the Wall: Anne Hathaway is a Great Actress … Right?

“Anne Hathaway is a great actress.” “Is she, though?” Both speakers in that conversation are me. This was the dialogue I was having with myself as I watched Hathaway on Saturday Night Live this past weekend. She was so effortlessly charismatic, her timing excellent, and her presence inviting. Whether she was playing a hillbilly waiting…

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Frenzy on the Wall: How About Some Awards Buzz for These Guys?

Every year around this time, the award-season storylines begin to take shape. You see, like in politics, it’s not always the best candidate or film that gets awarded, it’s usually the one with the best publicity, the best “story.” When Best Picture actually goes to the best film, all it means is that the best…

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Frenzy on the Wall: The Unstoppable Mr. Washington

I’m going to check out Unstoppable this weekend because it looks like dumb fun and I actually find Tony Scott to be a much more entertaining filmmaker than his brother, but sadly, seeing the latest Denzel Washington film isn’t exactly a draw for me any longer. I used to believe Washington was like a modern…

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Frenzy on the Wall: Where’s the Geek Love for Monsters?

The way the film geek crowd ate up District 9 last year, you might expect Monsters, another indie entry in the “aliens among us” genre, to be garnering similar geek buzzing this year, but it’s not. Monsters is not a perfect film, but I was kind of blown away by it, and I think it’s…

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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