MCN Columnists
Noah Forrest

Frenzy On Column By Noah

The Science of Gondry

I’ve been a fan of Michel Gondry for quite a while, vividly remembering watching some of his early videos on MTV’s “120 Minutes” when I was growing up. Of course, at the time I had no idea who this Frenchman was, not bothering to look at who actually directed these videos for Daft Punk or Bjork. Later, I…

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The Oscars are Here!

We’re just a few short days away from red carpets being strutted upon by bejeweled starlets, handsome men in tuxedoes and thousands upon thousands of dumb questions by gossip-mongers posing as media. The Oscars are the movie version of the Super Bowl – or claims to be – and has all the requisite hoopla surrounding…

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What Happened to the Romantic Comedy?

Valentine’s Day is a Hallmark holiday, sure, but it’s also the time to celebrate your love with your partner, to go out to dinner or to stay in and cook.  Oftentimes, there is a movie involved and almost every year around this time, the studios put out a romantic comedy to inevitably rake in the…

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Camcorders Without Borders

I remember when Dogme95 was going to be the next big movement in cinema, when films like Thomas Vinterberg’s The Celebration and Lars von Trier’s The Idiots were supposed blow up the cinematic landscape. I remember reading about Vinterberg and von Trier reading their “Vow of Chastity” aloud in public square in Denmark. I vividly remember taking the train…

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Frenzy On Column

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima