Marti Noxon [scénariste, productrice]

Son travail sur Buffy :

Marti Noxon a rejoint l’équipe d’écriture de Buffy à la seconde saison. Lorsque le réseau tv Warner a accepté la série dérivée, Angel, Joss Whedon, qui travaillait sur les deux séries a promu notre scénariste productrice exécutive, lui déléguant une responsabilité importante sur Buffy. Sa promotion est intervenue lors de la sixième saison.
Voici comment Whedon a devancé les plaintes concernant son choix, montrant qu’il conservait le contrôle de la série : « Marti…et moi avons planifié cette année avec soin et même si nous avons commis des erreurs (tout comme nous en faisions tous les ans), nous avons produit cette saison. Nous avons exploré tout ce que nous voulions, exprimé ce que nous voulions exprimer. Vous n’êtes pas obligés d’aimer, mais ne pensez pas que cela vienne d’une quelconque négligence de ma part. »

-Noxon a été éditrice (1997-1998), coproductrice (1998-1999), a supervisé la production (1999-2000), coproductrice exécutive (2000-2001) et productrice exécutive (2001-2003) sur Buffy, aussi bien que directrice de 2 épisodes de la saison 5.
-Elle est aussi apparue dans l’épisode musical de la saison 6 en tant que « dame à l’amende » qui se plaignait en chantant d’avoir reçu une amende pour stationnement.
-Elle reprendra du service lors d’un épisode de la saison 7 où, dans la digression d’un personnage sur la même journée, elle chantait avec un voisin (joué par David Fury qui reprenait, lui aussi, une figuration) au sujet de sa chemise tâchée de moutarde.
-Elle a aussi donné de la voix pour le générique d’une parodie de série appelée « Cordy » dans le spin-off Angel.
-C’est notamment lors d’un commentaire sur le DVD de l’épisode Hush (saison 4) que l’on a appris qu’elle était à l’origine du casting d’ Amber Benson pour le rôle de Tara.


Ses autres réalisations

Au-delà de sa participation à Buffy, elle a coécrit le film Just a Little Harmless sex (1999). Elle a aussi eu un rôle mineur dans Godmoney, en jouant une épouse. Dirigé par Darren Doan, ce film narre les aventures d’un jeune homme qui se tourne vers le crime après avoir perdu son emploi. Sa carrière après Buffy a été jalonnée de réussites autant que de défauts. Comme le pilote de la série Still life (2005), qui n’a pas été retenue, ou Point Pleasant qui a été supprimée en 2005, après huit épisodes sur les 13 déjà tournés. Elle a aussi été productrice consultante sur la série à succès Prison Break (dont l'acteur principal a joué un rôle dans un épisode de la saison 2 de Buffy) mais l’a quittée au bout du 10ème épisode de la première saison. Le Blog Grey Matter dans son article du 25 janvier 2007 rapporte son arrivée en tant que productrice consultante pour le reste de la troisième saison de Grey’s Anatomy et un épisode coécrit avec Shonda Rhimes, créatrice de la série, qui sera diffusé en février 2007.



(Source : Article lui étant consacré sur Wikipédia)

Marti Noxon, qui a travaillé sur BTVS aux côtés de Joss, a deux nouveaux projets pour 2010 ^^

Trouvé ICI

Citation :

Diane Keaton is attached to star in a series project in development at HBO revolving around a feminist icon who launches a sex mag for women.

The untitled series is among the first projects to come from Grady Twins Prods., the production company formed earlier this year by TV vets Marti Noxon ("Buffy the Vampire Slayer") and Dawn Parouse Olmstead ("Prison Break").

The duo is also working with helmer Guillermo del Toro and author Chuck Hogan on a smallscreen adaptation of their book trilogy "The Strain."

The Keaton project stems from Noxon and Parouse Olmstead’s interest in exploring the legacy of the feminist movement of the 1970s. Keaton was taking meetings for a TV series project, and she responded to Noxon and Parouse Olmstead’s vision for a show featuring a Gloria Steinem-type character who tries to reignite interest in femme-centered activism by launching a porn mag for women.

Noxon is writing the script and will exec produce along with Parouse Olmstead. After Keaton signed on, the lead character was tailored to the thesp’s background and experiences.

"We really value her experience and outlook on the world," Noxon said. "She’s incredibly frank and honest as an actress and as a person, yet she’s also extremely private. We really want to capture that in the show."

The "Strain" book trilogy is a bioterror thriller with fangs, telling the story of an outbreak in the U.S. of a virus that either kills those who are exposed to it or turns them into vampires. The first of the series came out in June. The plan is to shop the TV project, envisioned as an event series unfolding over three seasons, early next year after the second book is released.

Noxon and Parouse Olmstead have long been friends and occasional collaborators on such projects as the 2004-05 season Fox mystery drama "Point Pleasant."

With help from their reps at WME, the two decided to go it alone as partners in Grady Twins after years of working for large production entities. (The Grady Twins moniker is a nod to the murdered twin girls who haunt the Overlook Hotel in "The Shining.")

The two put up their own coin for office space in L.A.’s Larchmont Village and got busy setting up projects. "We both felt like it was a good time to strike out and not be committed to any one place," Parouse Olmstead said. "The business models for network TV and cable TV are changing. We see this as a moment of opportunity for a company like this."

The duo’s first series to go into production is "Gigantic," a drama set for debut in January on the Viacom-owned cabler TEENick (the new name for the N as of September). Show examines the world of celebrity culture by focusing on high-school age children of fictional celebs.

As evidenced by Grady Twins’ initial batch of projects, Noxon and Parouse Olmstead aim to cast a wide net as producers. And they’re committed to live by the maxim that "we don’t want to be doing anything that we don’t have a passion for," Noxon said.

Noxon’s recent primetime credits include "Private Practice," "Grey’s Anatomy" and "Mad Men." Separate from her Grady Twins labors, she’s set to make her directing debut on the indie feature "Box City" for Mockingbird Pictures.

Parouse Olmstead is also working on a feature project, reuniting with "Prison Break" creator Paul Scheuring for "The Experiment," a U.S. adaptation of the Teuton pic "Das Experiment." She’s serving as producer on the pic for Magnet Media and Inferno Entertainment.

****

Citation :

Exclusive: Screenwriter Marti Noxon on THE DEFENDERS; Says John Hamburg is Now Involved and it’s a Sci-Fi Comedy
by Steve 'Frosty' Weintraub

About a year ago we first covered a project called The Defenders. The project was set up by Masi Oka (Heroes) at DreamWorks where he landed Alex Kurtzman and Roberto Orci (Star Trek, Transformers) as producers with D.J. Caruso possibly directing. The story (from our original article):

Citation :

“Centers on a group of mostly teenagers from around the world who are involved in a multiplayer video game, each unaware of who they really are behind the cover of their consoles and avatars. They are forced to come together for a real adventure, becoming inadvertent heroes in the process.”

Since posting the story, we haven’t had any updates. Until today. That’s because an hour ago I got to speak with screenwriter Marti Noxon (I Am Number Four, Fright Night) and towards the end of the interview she revealed she’s writing the script. The interesting news is she mentioned John Hamburg (writer/director of I Love You, Man) is also involved and she called it a sci-fi comedy. More after the jump:


While it’s not clear is Hamburg’s involvement means D.J. Caruso is out of the picture, I think it does. Also, when you look over the synopsis and hear Noxon calling the film a sci-fi comedy, you can’t help but think of The Goonies in terms of tone. In addition, Steven Spielberg produced Goonies and the project is set up at DreamWorks….so it’s not exactly a stretch to reach that conclusion.

Anyway, here’s what Noxon said about The Defenders and another project she’s doing called Bad Baby – which she said is in the tradition of John Hughes and Home Alone. Look for my full interview later today or tomorrow where she talks about I Am Number Four, Fright Night, Comic-Con and a lot more.

Source : ICI

Citation :

Exclusive: Marti Noxon on the Future of 'Buffy'

If there's one TV project that most genre fans would love to see reborn on the big screen it's Joss Whedon's Buffy the Vampire Slayer. That's why, when I chatted with Marti Noxon earlier this week, I made sure to ask the former Buffy writer and executive producer if she'd contemplate a return to the character should a feature film get greenlit. Find out what she told me after the jump.

There's been talk of re-launching the franchise as a film. Is that a project you might be interested in?

Obviously, if there's a film I probably wouldn't have much of a role there, because Joss is a one-man show. But I would certainly do whatever he asks. If called, I will answer. Actually, on the TV side, I feel like enough time has passed that we're probably all reenergized and have new things to say. If there were some kind of reboot, then yeah I'd be totally down for that. The great thing is that so many of the Buffy people have finally… I think there was a period of flailing, because they had it so good. Then you come into the "real world", and you realize that not everybody operates the same way as we did. We were given a lot of creative freedom, a lot of latitude to do what we wanted to do, and real TV doesn't operate like that as much. Not everybody, but many of us And fortunately we're kind of finding out feet. The only downside of that is that if something came up we might not be available.

There was talk at one point about perhaps launching a movie without Joss's involvement.

That was ridiculous. [Laughs] That was ridiculous. I think that notion was so quickly… I think that was probably some kind of muscle to try to get Joss to commit to something. That was my suspicion, that they were sort of playing a game to move the project forward. Because nobody wants that to happen.

Source : ICI

Marti Noxon a fêté hier ses 46 ans !!! Un très joyeux anniversaire à elle ^^

Happy B-Day à cette très bonne scénariste

Joyeux anniversaire a elle

Une nouvelle interview de Marti Noxon ici : http://io9.com/5735235/a-buffy-mastermind-goes-back-to-high-school

Et elle parle pas mal de son travail sur Buffy, et damn, la pauvre, j'ai envie de lui faire un gros câlin Parce qu'elle explique qu'elle s'était pris énormément de critiques lorsqu'elle est montée en grade pour la saison 6.

Citation :

A Buffy mastermind goes back to high school

Marti Noxon was a producer of Buffy the Vampire Slayer, and now she's coming back to superpowered teenagers with the movie I Am Number Four, coming next month. She talked to us about aliens, super-violence, and dealing with internet haters.

If you're a fan of Buffy the Vampire Slayer, then you're also a fan of Marti Noxon, whose creative vision helped shape the show. She wrote more episodes of Buffy than anyone apart from Jane Espenson and creator Joss Whedon, and became the show's executive producer. And now she's the screenwriter of I Am Number Four, the movie based on the bestselling young adult novel about a fugitive alien in high school. Number Four has to discover his superpowers and romance a formerly popular girl named Sarah, while dealing with both mean jocks and the super-alien predators who are hunting him down.

We were lucky enough to talk to her about I Am Number Four — and we'll also have an exclusive follow-up Q&A with her about her other movie project, Fright Night, later on.

Minor spoilers for I Am Number Four ahead...

What appealed to you about adapting this novel?

Well, when I came into the project, there were already a couple of scripts, and so at that point, I was reacting more to the the movie that Dreamworks was envisioning. And I think I responded to the same thing that I love about the Spider-man stories, which is real characters in extraordinary situations, and to some extent the Buffy story too. Even though the main charater knows that he's from another planet, we're on a journey with him, as he discovers his power and the challenges that he's going to face. And the whole goal was to keep it grounded.


So there were already two scripts that other writers had done? What did you bring to it, when you came in and rewrote it?

I did a lot of work on some of the character stuff. There was a really good structure in place, and a lot of good character foundation. But part of what Dreamworks was looking to do was expand the appeal of the movie, and make sure that the female characters were feeling really lived in. And Sarah and John's relationship is really a big part of the movie. I was just like, "Teen alien romance? I'm so in." Supernatural mixed with romance is one of my sweet spots. I'm a sucker.

Reading the novel, I didn't really understand Sarah's character that much. She's the popular girl, but she's given up being popular and now she's sort of an outcast.

I hope that in the movie, it's much more clear, what happened and why she is where she is in her life, and why she sees things the way she does. And of course, the actress, Dianna [Agron] from Glee is amazing. She's so appealing, so warm. She gives it a whole additional dimension, which is really exciting to see.

What's it like going back to paranormal high school after Buffy? How is this different from how Buffy treated these themes?

I mean, tonally this is a really different movie. This is much more in the vein of Twilight. The world of Buffy was overtly comic, overtly kind of pushed into a kind of genre world that was a little bit over the top. This is much more living in that space of "What if this was really happening?" And so, tonally, that's just a different vibe, you're not looking as broadly at the comedy, [and] what there is much specific to the charcters. The dialogue on Buffy was just so stylized. I went back and rewatched a couple of episodes, and I was like, "Wow, I forgot how intensely we worked the language." They were speaking their own fricken language. That's a really fun kind of writing, but it's really different than trying, on some level, to keep your ears to how people are talking now and what sounds credible.


So there's been a huge surge in interest in young-adult paranormal and science fiction stories, including things like Hunger Games as well as Twilight. What do you think is behind this?

I don't know. I don't know if it's cyclical. I don't know if the big shows like Buffy and Roswell and Supernatural and [other] shows on television penetrated that market, [and] it's kind of feeding on itself. Now there's more books like that, and more media like that. There were a few shows that broke through and captured people's imagination. And the interesting thing is, I'm always talking to real young people who are discovering Buffy, Angel and Firefly right now, through DVDs. And of course, the Twilight phenomenon was a huge, huge boon to that industry. I do think it's an appetite that's been discovered over the last 10-12 years, and we'll see if it cycles out again.

I'm not a huge apocalyptic theorist. You know, a lot of people have theories about people's fear of the end of the world, and that really makes us way into fantasy. And tough times lead to this kind of renaissance in fantasy fiction. I just think it comes and goes into popularity. Lucky for me, we're in a big upswing.

I heard revisions to the novel went hand in hand with scripting the movie version. How did that process work?

There was definite communication between James [Frey] and the studio. And by the time I came on, the book was already in galleys, so we, again, were locked into things that were written. But I know that earlier in the process, yeah, there was a little bit of give and take about things that the studio would tell James we were doing, and he might cotton to some of those ideas.

What were the biggest differences you ended up with between the book and the movie?

[The movie is] very much in the time and space it's in. We don't do a lot of backstory on [the alien's home planet] Lorien. And we don't do a lot of explaining of the mythology of the nine. That's kept relatively sparse. But I think it's pretty easy to understand the general concept. They came here, the Mogadorians are after them, and the nine [aliens] have been depleted. All that's pretty clear. But we found that too much mythology was confusing people. It's all backstory, it's all stuff you don't actually see.

One of the interesting things in the book is that it's a science fiction world, with aliens and space travel, but there are also spells and magic. How do you work that in the movie?

I think if there's one element we didn't incorporate much from the book, [it would be the magic spells]. We didn't do a lot about the magic or the spells, there are allusions to it, we didn't go too much into that. And I think if there's more I Am Number Four, there'll be more of that.


Back when you were working on Buffy, you were one of the first creative people working in Hollywood to experience an internet backlash. Nowadays it's common for writers and producers to be attacked on message boards, blogs or other online forums, but it was a relatively new phenomenon when you experienced it. What did you learn from that experience?

I was personally attacked for [Buffy] season six, yeah. [Laughs] I mean, on the one hand, I get that people didn't really understand the process, because Joss was very involved creatively [in that season]. So it was like okay, people don't really know what's going on here, that's fine. But on the other hand, I am hypersensitive, and criticism wounds me far too deeply. And I never cultivated a fanbase on the internet, in part because I'm afraid of needing that, needing the approval of people I don't know. I already worked so hard to get it from the people I do know, [so] a legion of people who are strangers to me is even more daunting. So I felt like I could have gone on there, and defended myself and explained myself. But then I thought, "You know, if I get into this, it's a rabbit hole, from which I shall never return." [Laughs]

It was uncomfortable, but ... it also probably did me a real service, because I mostly steer clear of all that chatter, I don't go on the Web to look at comments about I Am Number Four. I haven't looked at comments about Fright Night. I just keep my head down and do my work. And you know, I probably missed some good and thoughtful stuff, but in the big picture, it can be a real creative drain. It can be a distraction. I know that people on genre shows have jumped off Twitter or [other online forums]. Because they get into defending themselves. There's a benefit to dialogue with your audience, but so many people in the internet are ready to engage in a fight. And that's just not my style.

Une nouvelle interview de Marti : http://www.fearnet.com/news/interviews/b21586_exclusive_marti_noxon_on_lsquonumber.html

Citation :

Exclusive! Marti Noxon on ‘Number Four,’ ‘Fright Night,’ and ‘Buffy’

Has Marti Noxon been dubbed a genre queen yet? She darn well should be. The writer/producer/singer (!) made a name for herself on Buffy the Vampire Slayer and Angel. After some time on non-genre projects like Mad Men, she's back now with not one, but two movies: I am Number Four, a teen sci-fi/action flick (think Twilight with less moping and more monsters), and Fright Night, a remake of the classic '80s vampire flick. The vivacious writer (who also cooks and bakes!) took a few minutes during dinner prep to chat with us.

How did you get involved in I Am Number Four?

I had just done Fright Night for Dreamworks, and they were looking for addition work on I Am Number Four. They had had a couple other writers on it, and it had been through a couple different versions. They specifically wanted me on the character stuff, but I ended up on the project for a few solid months and I ended up doing a lot of work on it.

With all of these different writers and sources, how did you manage the script? Did anyone else have input?

It was a very collaborative process. Steven Spielberg [Dreamworks produced the film] had a lot of input because they were getting close to shooting and there were a lot of things he wanted developed, visually. We did a lot of work on how much backstory was necessary. There was some back and forth with the author, although at that time - during the draft that Miles Millar ad Alfred Gough did - they were talking back and forth with [author] James Frey, and the book was actually changing based on their input. It was a kind of symbiotic relationship, which is rare. Usually the book has been written and you have to toe the line. At that time, the book was still in galleys. The guys had read a first draft [of the novel] and they were able to tell James what they thought would be cool - and he was really receptive, apparently. I came in later, when the book was about to be published, so I couldn't make any changes like that!

There are a fair amount of creatures in the film. Does knowing what a creature will look like alter the way you write an action scene?

It can. Every time you are writing action, you are looking for something unique about that sequence. You want something fresh that, hopefully, your audience hasn't seen a million times. So if the creature has any unique properties, that will really help. However, the creature design was going on concurrent with my writing. Plus, most of the action stuff had already been written, and DJ [Caruso, the director] and Guillermo [Navarro, director of photography] did a lot of work on that stuff. The huge set piece at the end, I did all the dialogue and character stuff there, but in terms of visuals and [choreography], that was already in place.

Are you guys already planning a sequel? Perhaps I am Number Five?

I think everyone is waiting to see how this movie does. It's part of a quadrilogy, so it ends with the promise that there might be more. Hopefully the movie is satisfying in and of itself, but there is the opening there for something more with these characters.

You definitely feel like the characters are going to go find Five and Seven and Eight and Nine.

And number Six is so awesome, so you want to see more of her. We left the door wide open.

Six had a very kick-ass, Buffy kind of thing going on.

More like a Faith kind of thing. [Laughs.]

Do you have a particular affinity to that type of character?

Absolutely. I love me a kick-ass girl. I feel like there is a dearth of them right now. There have been great movies with female action characters, but never enough for my tastes. It is great to get to write a character like that. She's not looking to please anybody, and she's not a moper. We really, really like that. Teresa Palmer is a great actress and really brought a lot to the role. Because of the book, we were limited in our introduction of her, but hopefully it will make people want to see another [film].

How does the process differ when adapting a book for the screen, versus writing a remake of a film, like Fright Night?

There is a roadmap with both of them. The source material for I am Number Four is not particularly well known, so you don't feel like you have as much obligation to the fans of the material - the fans don't exist yet. When you are dealing with a book, you also have to make sure not to derail the franchise. With Fright Night, I knew it was a movie that a lot of people had a strong affection for. Some love it because it is a campy classic, others love it because they just love it, some love it because there were boobs in it... everyone has a reason. You are striving to make it feel new and fresh, but make it respectful to the original. With a book, there is more room to set tone because from page to screen is a lot different than screen to screen.

What kinds of changes or updates can we expect to see in the new Fright Night?

It feels more contemporary. We don't have midnight movie hosts anymore, so we tried to find a contemporary counterpart to that. We went with a Las Vegas magician. I kind of based it on Penn & Teller because I read that they have an amazing occult collection - they collect occult artifacts and stuff. Even though they are not believers - they are debunkers - they still collect it.

Actually, it's really just Teller who collects that stuff.

Oh yeah? [Laughs.] Well, when I read that, I thought, "Wouldn't it be something if one of these kinds of guys were an authority on all things creepy and vampirey." Plus I thought it would be a good character. You can pull the curtain on the creepy, gothy magician type. So our character has a show called "Fright Night" on the strip [instead of a late night TV show].

When I first saw Fright Night, I was a kid, so I don't remember how the tone of the movie was received originally - whether it was considered scary or goofy. Watching it now, it definitely feels campy. What tone will yours have?

I think it definitely falls more in the traditional, dark vampire category. It takes the world it is in... not more seriously, but it is a little more grounded. One of the goals the director [Craig Gillespie] and I shared was that we wanted these kids to feel like real teenagers, in a real world. Hopefully we achieve that. At the same time, it is self-aware. Times have changed in the 20 years since the original Fright Night, so there is a lot of self-awareness. We have some fun with the vampire genre. The other fun thing was that I got to write about the relationship between Ed and Charlie. In watching the original, I was always like, "How the hell did those guys know each other? What brought them together?" So we really went into that. I think tonally, it feels more real, but it is meant to be fun. It doesn't take itself too seriously, and there is a lot of humor to it. One of the highest compliments I have ever gotten was from Mr. Spielberg, who said "If Amblin ever made a horror movie, this is what it would be like." [Amblin Entertainment was Spielberg's now-defunct production company - it merged with Dreamworks - that boasted projects like Gremlins, The Goonies, and Back to the Future]. We'll see if it turns out that way, but that was how he felt. That was one of the better days of my writing career. Tonally, that is the goal: funny and scary, but not over-the-top.

Back in July, you told one of our reporters that the idea of a Buffy reboot without Joss Whedon was "ridiculous." I'm sure after the news broke that a reboot was indeed in the works, you knew that comment would come back to haunt you. Any comments now?

[Laughs]. I guess I should address it. God bless, them, good luck to them, but I still think it is ridiculous. I stand by my quote! I hope that I am proven wrong. But the show was so much a product of Joss's voice. We loved his vision, and stepped to it, but it is hard to imagine anyone else capturing what is supremely him. I totally get that there is a fan base that wants more, and if he can't do it, somebody ought to. But it is hard for those of us who were together, in the trenches, at the beginning, to imagine someone else trying to capture that.

I am Number Four hits theatres February 18, 2011

Une nouvelle interview :

Article, trailer et poster sur le film "Friday Night" :


Le film est écrit par Marti Noxon ^^

Marti Noxon a été embauchée pour réécrire "Pride and Prejudice and Zombies" :

Marti Noxon a été embauchée pour travailler sur Glee !! ^^

Citation :

'Glee' Hires First Writing Staff, Allison Adler Tapped As Co-EP, Marti Noxon To Consult

After two seasons of writing every single episode of the high school dramedy by themselves, Glee co-creators/executive producers Ryan Murphy, Brad Falchuk and Ian Brennan are getting help for Season 3. For the first time, the Fox series will have a writing staff next season. Joining Muprhy, Falchuk and Brennan in the writers room will be Allison Adler (Chuck, No Ordinary Family) as co-executive producer. Roberto Aguirre-Sacasa, who did the rewrite of the Spider-Man: Turn Off the Dark musical, was recently tapped as co-producer, with Buffy and Angel veteran Marti Noxon and frequent Christopher Guest collaborator Michael Hitchcock, who guest starred on the first season of Glee, serving as consulting producers. Rounding out the group are staff writers Matt Hodgson and Ross Maxwell.

Murphy was quoted last summer saying that he was planning to add writers midway through Season 2. Series normally staff up between seasons, but last summer was particularly hectic for Murphy with the first-ever Glee tour and the release of his movie Eat, Pray, Love. But between writing and directing (Murphy, Falchuk) episodes, supervising music, wardrobe and choreography and planning the summer concert tour, the three never found the time to read spec scripts and interview writers. So Glee ended up producing 44 episodes over two seasons written by three people, a feat pretty unheard of in today's TV business and a throwback to prolific producers like Stephen Cannell and, more recently, David E. Kelley. But the lack of supporting writing staff started to show in Season 2, where the episodes were uneven and often felt like stand-alone movies built around songs, with the overarching storylines sometimes fractured or meandering. In another unique quirk of the show, there is one writer, Brennan, who writes the vast majority of the lines of the show's signature character, Sue Sylvester, played by Jane Lynch. The Glee writers start work on Monday, with principal photography on the show's third season set to begin in August.

Interview de Marti au Comic Con (elle y parle de Spike à la fin) :

Citation :

Fright Night Cast And Crew Talk Vampires, Horror And 3D

Rounding out a full day of film and television, the director, writer and stars of DreamWorks’ Fright Night descended on Comic-Con International on Friday to discuss the 3D remake of the cult-hit 1985 horror comedy.

Director Craig Gillespie and writer Marti Noxon were on hand for a press conference alongside stars Colin Farrell (Jerry Dandridge), Anton Yelchin (Charley Brewster), Imogen Poots (Amy Peterson) and Christopher Mintz-Plasse (“Evil” Ed Thompson), and Chris Sarandon, who played Jerry Dandridge in the original film.

Farrell led off the Q&A by answering who would win in a fight, Twilight’s Edward Cullen or Fright Night’s Jerry Dandridge. “It depends on what they were fighting for,” he said. “If they were fighting over a lump of meat? Jerry. If they were fighting for the love of a woman? I’m afraid Cullen would have me.”

Noxon, best known as a writer and producer of Buffy the Vampire Slayer, touched upon what it was like adapting a classic horror film like Fright Night.

“I think I was lucky in that I wasn’t aware of how much of a classic it was when I first came on,” she admitted. “I stayed away from the Internet. I was very lucky because the version we have has such a great premise and such great characters to work with. Also, in the 25 years since the original was made, the world has changed a lot. The boys are a lot more aware of genre convention, they live in a Twilight universe, these kids. So, I wanted to be really respectful to the original but there were a lot of ways I thought we could explore character a little differently now. It was just a challenge of the things we knew we wanted to stay true to and the places where we needed to reinvent. Of course Craig and the actors did such a great job putting the fun and I think the heart that was in the original.”

Farrell, as the antagonist Jerry Dandridge, was asked about the differences between the character he plays and Sarandon’s original portrayal.

“They both need blood to survive,” he said. “The old Jerry Dandridge as I remember him, as I first experienced him when I was – when I first laid eyes on Jerry, he was incredibly debonair, had a certain dignity to him, felt like an intellectual, felt incredibly cultured, suave. My guy’s kind of none of those things. I kind of felt more like a social parasite, somebody who really did enjoy the threat that he posed to those around him, if indeed he allowed – if he exposed himself and let those around him know who he was. My guy would be nothing but the fear, the fear he would instill in people. He felt like somebody who treats humans like a cat treats a ball of wool, as playthings, not just as a source of sustenance, but as playthings. It was kind of brutal, I got a chance to play a grizzled vampire who wasn’t concerned with anything – with love – had no fear and no human virtues that would be recognizable at all. Just as somebody who traveled the world for 400 years and then possibly got tired of his own company, but his vibe is grizzled and very much had kind of the M.O. of a serial killer.”

“Obviously it’s tricky to do research, you can’t walk down the Third Street Promenade of Santa Monica and have a nibble on some panzer’s neck,” Farrell continued. He also mentioned that he’s loved movies like Lost Boys and many incarnations of Dracula since he was young. “I was seeped in the lore already, but maybe playing a vampire really attracted me as a fan. That’s how I approached it first, and that’s not always you approach films, you don’t approach them as an actor, just as a human being. Not as an actor, just as a man or a woman and see how the piece affects you.”

English actress Imogen Poots was asked about her experience working with both the tenth and eleventh Doctors – David Tennant in Fright Night and Matt Smith in Christopher and His Kind – and how their experience playing the Doctor factored into other roles.

“They’ve got this exceptional [talent] to take on these humans that are essentially creatures,” she said. “Both of them share that. David is hysterical. It’s fascinating to watch them from a place of London where I recognize them from playing the character Doctor Who, which is such a big deal in the U.K. and now here. So, with the character of Doctor Who, they’re constantly adapting to different forms and different situations.”

Fright Night retains a good amount of humor mixed into the horror. For Gillespie, striking a balance between the two was the focus. “We tried to approach this twofold. One, my script has genuine horror and thriller and suspense,” he said. “That was at the forefront for me. There is always somebody that can put that tension on the screen. And then we have the humor of it. As much as Christopher [Mintz-Plasse] and David are really funny, their characters always came from a very real place. Everyone was really in that reality of what was going on, so we had this really great balance.”

“I think what we were trying to do was make the characters people who are funny in a very scary situation, as opposed to let’s make a funny scary situation,” Noxon added. “What would you really say if you had a weird sense of humor in this particular instance.”

The discussion took a turn toward Yelchin, who spoke about the choreographed fight scenes with Mintz-Plasse. “Most of the prep was for the emotional journey of the character,” Yelchin said. “Chris and I rehearsed the fight sequences quite a bit because it was such a choreographed piece. Probably two or three days’ rehearsal for that. The more you do it, the more it become sort of a natural thing, I think, and you just hope you don’t smack the other person.”

Fright Night was filmed in 3D, and the original Jerry Dandridge, Chris Sarandon, mentioned that not only did he enjoy the film — “I saw it last week and I think it’s just brilliant” – but he thought the 3D was particularly well done. “I think that what you’re looking for with 3D is not spears coming at you,” he said. “When I was a kid, that’s what we went to 3D movies for. We’d put the paper glasses on and we’d have natives throwing things at us. I think what Craig was looking for was sense and texture of using the 3D. It wasn’t using it for the purposes of being a gimmick, but to enhance the experience of the movie and that’s what it does.”

“What was enticing to me is you would see it through this large spectrum of the rabbits in Alice in Wonderland and these huge walls,” Gillespie continued, “but to see two guys talking in the kitchen and that tension and see one friend put a hand on the other’s shoulder and see more of what’s going on – the intimacy of a horror replay where you go down hallways and have truer aspect, having that depth was exciting.”

Circling back to the core concept of Fright Night’s vampires, Mintz-Plasse detailed why he thought Farrell’s vampire was an excellent portrayal. “I think Colin did a fantastic job just kind of bringing back the one vampire, kind of sexy, kind of charming, but he’s just pure evil,” he said. “I think that you did in the original one of my favorite types of vampires – one predator hunting down one other person. It’s more intimate.”

“That’s what’s exciting about the script, right off the bat, this guy is truly a terrifying character,” Gillespie said. “We treat him more like he is sort of this pathological serial killer. It remains a part of who he is and he’s got to feed on human blood. How does he go about keeping people, not being detected and on top of that he’s got all this charm and charisma that seduces people but then at the end of the day he’s attached from emotion.”

Unsurprisingly, Noxon’s experience on Buffy the Vampire Slayer did come into play in a minor way, as she expressed how character work was similar between the television series and Fright Night.

“When they were saying, ‘Who’s your favorite vampire?’ my favorite before Jerry was Spike when he was bad,” Noxon said. “Spike before he got all soft and mushy over Buffy. I still liked him, but I was just trying to get the guy to bite something. The characters in the story are so real that I could really identify with them, with Jerry’s journey, in the same way that Buffy was a very grounded character. We never had an episode where we didn’t spend a lot of time relating our personal experiences and portraying them in this really supernatural world. Anton’s character, I felt like there was a story to be told about these generations of kids now who are into pop culture and they’re so into their imagination and they get to a certain age and it’s not cool anymore. They try to abandon that part of themselves and then what happens if it actually turns out to be true? He’d have to change and adapt to this new world. That’s very personal to me so it was really fun to write.”

Toward the end of the conference, Sarandon gave the film a ringing endorsement, saying, “There was a certain amount of skepticism, but when they sent me the script, I thought, ‘They got it.’ They figured out how to make it contemporary and at the same time, make it enough of an homage so that the fans of the original move would appreciate it and at the same time, take them on a different kind of ride. I think that’s what this movie does.”

Une nouvelle interview de Marti Noxon qui va écrire pour Glee ^^

Citation :

Buffy's Marti Noxon on Joining Glee, Why Brittany is More "Evolved" Than Most

There are many reasons the Internet exploded when it was announced in June that Buffy the Vampire Slayer executive producer and fanboy favorite Marti Noxon had joined the writing staff of Glee: She has plenty of cult cred, thanks to her days working alongside Joss Whedon, but her resume is also littered with top dramas including Mad Men, Private Practice, Grey's Anatomy and Brothers & Sisters.

"Geeks and musical nerds are all the same people," she says. "There were only so many places to hide in high school: One was the A/V club and the other was the drama club. In Glee, the two meet so beautifully."

Glee adds 6 to writing staff

We caught up with Noxon Saturday at Comic-Con, where she was promoting the upcoming remake of Fright Night, to talk about what she'll be doing on Glee — and how the Fox musical might allow her to deal with some unfinished Willow-Tara business:

How did you come to join the writing staff of Glee?
Marti Noxon: I had worked for Fox a lot back in the day, and actually [20th Century Fox Chairman] Dana Walden, who I like to call co-president of awesomeness, it was her idea. She suggested it to Ryan Murphy, Brad Falchuk and Ian Brennan and they were really great about it.

Did she tell you they needed more people?
Noxon: I think what she felt was that Ryan and Brad have a new show going on FX, American Horror Story, and it's pretty well-known that they, together with Ian, write everything. That's a lot. It's not like other shows. I worked on Mad Men and [creator-executive producer] Matthew Weiner puts his mark on every single script and rewrites them all, but they're only doing 13 episodes. On Glee, they're doing 24 or something! It's crazy. They realized they could use some help.

I'm on as a consultant, which means I'm part-time, but they also hired a great writing staff, people I'm really excited about and am currently getting to know.

Everything you knew about Glee's future is wrong: Producers clarify Ryan Murphy's comments

How much of the show have you seen? Were you a fan?
Noxon: Absolutely. I was more of a first-season person, only because I didn't get a chance to watch Season 2; I got super-busy. But I know that Season 1 I really dug. Some of the story lines were so out there, but I totally love that! I was just like, "This is just off the hook! It's bananas." We're having a lot of fun thinking about next season.

The thing I did get to see recently was Glee: The 3D Concert Movie. It's so good. It's really charming and inspiring and they make some really smart choices, I can't wait for people to see it. And I can take my daughter to see it. She's 6-and-a-half, so I can't always let her watch the show! "Mommy, why is everybody kissing everybody?" Although she does have lesbian grandmas so she's ready for Glee.

How will it work with you being a consulting producer?
Noxon: Usually what it breaks down to is you spend more of your time helping shape story rather than writing scripts. One of the good things about consulting is that you leave the writers' room for a couple of days, things progress, you come back and you might have a fresher take. The thing that can happen in a TV room is you can get "teamthink," you can all go down a crazy path together. Sometimes I say working on a story in a writers' room is like saying the same word over and over and over again until it doesn't make sense anymore. Like, you say it until you don't know what you're saying.

Are there any characters you're excited to help write stories for?
Noxon: It's weird; everyone's a Brittany (Heather Morris) fan. The number Heather has in the Glee movie is just stupefying. She manages to be both incredibly wholesome and one of the sexiest people you've ever seen, which is an amazing thing to pull off. I would love to write some Brittany stuff. I wouldn't mind getting into the whole Santana-Brittany thing, especially because of Willow and Tara on Buffy.

How so?
Noxon: It stems from one of the things we had talked about doing with them on Buffy that we never did. It's so politically incorrect to make a character gay and then make them "un-gay" again. Like once you become gay, you've crossed over, or, you're not allowed to be a person who doesn't want to be defined by a label like that. You're not allowed to be a person who says, "I just love that person right now, and maybe I'll love something else at some point, so I don't really want to say if I'm gay or bi or straight or anything else. I just love this person." I feel like that's where Brittany is. Without overthinking it, she's very evolved.

Glee's Darren Criss talks Broadway, "unicorn dust," and graduation

Have you talked to any of the executive producers about exploring that further?
Noxon: Yeah, it's a big area of discussion right now. "What is Brittany? What's Santana (Naya Rivera)?" But I also think they did a lot of stuff last season about Kurt (Chris Colfer), and there's a lot that's been said on the topic of coming out, so I think theirs may be a slow-burn story.

What's the creative priority heading into Season 3?
Noxon: I feel like if there's a mandate it's just about keeping it fun and keeping the characters true to themselves. Nothing revolutionary. Doing what Glee does best and doing it through the whole season.

Some critics complained that the second season was erratic, and that sometimes one episode felt different from the next.
Noxon: I don't mind that. I feel like that's my feeling to a degree about True Blood sometimes. But it's one of the reasons I love that show, because you go, "I did not see that coming. And I never would have!" Sometimes it can feel a little disorienting as a viewer, but I just love the element of surprise and that's what I loved about Glee's last season. "Yeah! Here's an entire episode where they're huffing at the dentist's!" It's also just always incredible clever.

The mission going forward is like that for any show: You're carrying on what worked from the season before, and looking to the first season to see what people liked about that... But you can't get too reactive.

Buffy started as a high school show, but the characters graduated on to college and it went on for seven seasons. What's your take on the idea of characters graduating on Glee?
Noxon: I think it's kind of inspired, actually. I do. It is risky, believe me, I understand that it's risky. On Buffy we had a hard time at certain point, I mean, we stopped voluntarily at Season 7. It was not something the network was clamoring for, but we got tapped out. And I think Glee is a franchise that could go on for a really long time. There's a lot of talented, wonderful actors out there. I think it's a risky move but I think it's awesome.

And they have brought in new kids successfully, including Chord Overstreet [who won't return] and Darren Criss...
Noxon: I loooove Darren. I'm a huge fan. He's magic. He's made of unicorn dust; he really is. I just get so happy whenever he is on the show. In the Glee movie, as much as I was enjoying it, I was like, "Where is he already? Bring the happy back!" Obviously, I'd love to write some stuff for him. So yes, they're all incredible, but as a show choice, graduating characters is a really interesting, really bold choice that could really work. I think Ryan is on to something.

The third season of Glee premieres Tuesday, Sept. 20 at 8/7c on Fox.

http://omg.yahoo.com/news/buffys-marti-noxon-on-joining-glee-why-brittany-is-more-evolved-than-most/68165

Nouvelle interview de Marti Noxon :


SPOILERS POUR "FRIGHT NIGHT" !

Citation :

'Fright Night' Set Visit: Interview With Screenwriter Marti Noxon

There are a few female writers who make a lasting impression on a genre, particularly on the horror or sci-fi persuasion. Screenwriter Marti Noxon has been one of the it-people in town when it comes to adding some nice spice onto any script she writes. She's better known for her writing on a couple of television series including "Buffy the Vampire Slayer" but has only began crossing into feature films just recently.

"Fright Night" is Noxon's second time adapting a known property, the first being "I Am Number Four." After dipping her feet in the adaptation waters, she talks to us during the set visit about carefully rewriting the known property, vampire films nowadays and her own take on 3D.

Latino Review: How did you keep the heart of "Fright Night" intact in your script? It had a lot of heart in the characters, you loved every single person in that script. How do you translate that?

Marti Noxon: It’s funny cause that would be the heart of why I got the job. Other people had come in and talked about vampires while I had come in and talked about the relationship between Ed and Charlie and also about the relationship between him and Amy. I was much more interested in the stuff that I had always felt like I wanted some filling in on in the original movie. I had a lot of questions and I loved the original movie for just that reason. Certainly my training on “Buffy” was all about character, what’s the story you’re telling, what’s the theme and what’s the relatable thing for the audience. I feel like, oh yeah, I know what that is. I felt like there were a lot of seeds in the original movie that hadn't been fully exploited. And the great thing about DreamWorks was that they were really committed to making a movie with a real first act. I feel like because of that decision, that’s why we've drawn like Craig Gillespie, Colin (Farrell), Anton (Yelchin) and all these amazing actors because we wrote a character movie that also happens to be a really scary. I think because probably, I wouldn't say scarier than the original but because time moves on, it affects some of what they are plus I think it feels just a little more real. But that was exactly where I was coming from.

Latino Review: Can you talk a little about some of the changes that were made. For example, Peter Vincent is now a magician instead of a television show host. Why did you guys change some of the characters this time around?

Marti Noxon: Again, it’s however many years later, and there’s not really, I mean -- the people who were watching that movie had a very strong point of reference for Peter Vincent being a TV horror movie host. There are few still out there but it’s few and far in between. So we were trying to think of -- I was really inspired by the idea that Penn & Teller have this amazing supernatural collection. And I was like, well, who can be a real asset? It has to be set in Vegas, specifically because I have been thinking about that for a long time, having spent some time there during the election. I was out in Park County and these various places and I thought where better for a demon to hide out than in Vegas? It’s a transient population where people sleep all day and party all night. Nobody would notice if people just went missing, you know? I’d already been thinking about Vegas and it was a natural -- I knew about the Penn & Teller museum and I was like okay, we've gotta make him like this but can’t be cynics like Penn & Teller.

Latino Review: When it came to changing parts of the original, did you feel the need to keep certain scenes from the original in there?

Marti Noxon: With this movie there were some classic sequences that we knew we wanted to take a different turn on, reinvent, but reference for sure. There are a couple of key moments in the film that I wanted to change in order to surprise people. There’s one moment in particular where I think that if you know the original movie, you know what’s gonna happen and it doesn’t happen.

Latino Review: Can you tell us what it is?

Marti Noxon: I can’t tell you. I hope that people who love the original will feel like there’s enough of the original, but we definitely reinvented.

Latino Review: Can you talk a little bit about the film being in 3D and what's your own opinion on using 3D?

Marti Noxon: It’s interesting because I feel like the culture around 3D, particularly the directors, is really changing. It’s gone from feeling like you have to have these giant pop-out moments for the audience, like "Wooooahhh," to feeling it more as an atmosphere. There are many opportunities in the script for real 3D moments, but we didn't say "Ok, Jerry’s gonna like leap towards the camera at this moment." It was much more like "Where is it natural in the movie to have that?" We emphasized it, but it gives a much more immersed feeling to the whole movie. The whole time you feel like you’re in it. It’s beautiful, I mean just watching it on the screen, it’s incredible.

Latino Review: How much effort did you put into how the vampires were gonna be in this while paying homage to the first one?

Marti Noxon: I had a specific take on it, and of course the people who designed the creatures and the look then took that and expanded it. It’s hard because everything has been done. One of the great things about the original movie was how great some of that design was. I think we sort of modernized that, I don’t think we tried to create an entirely new vampire, but we definitely had a theme for the vampire. One of the first things that happened when I worked on the movie was they said "Yeah, we’re just kind of thinking that this vampire is more like Jaws." So you’ll see some sort of almost shark-like elements in the design.

Latino Review: As a writer, how do you avoid the Buffy comparisons? How do you break Buffy-speak? Do you find yourself falling into writing the characters like that?

Marti Noxon: Yes and no. I would say part of the reason why I survived the Buffy experience was because of my ear for that. I mean, it’s not nearly as stylized but it’s funny. I went back recently and watched some Buffy because I was doing some lecturing and I was like "Wooow! We were giving The Gilmore Girls a run for their money."What’s so funny is that I was so critical of other people’s highly stylized dialogue because it’s so unreal. I went back and watched a couple of episodes and was like wow! Nobody ever speaks about spin, you know. The goal in this one was I think to more create a language for the teenagers that felt authentic, and they’re more clever than I am for sure. It takes me longer to make up their dialogue than my own words.


"Fright Night" arrives in theaters everywhere on August 19th, presented in 2D and 3D. Keep your eyes out for even more interviews from the set visit here on Latino Review.

Marti Noxon a établi la liste de ses films d'horreurs préférés ici :



Elle a notamment évoqué le film de Joss :

Citation :

The Cabin in the Woods, 2012

Joss Whedon co-wrote this with the supertalented Drew Goddard (Buffy the Vampire Slayer, Cloverfield), who also directed. Produced by the long-troubled MGM, this one fell between the cracks and ended up on the shelf. Fortunately, Lionsgate picked it up, and it has an April 2012 release date. A group of teens go into a cabin in the woods to party—I don’t need to tell you that’s a bad idea. But in classic Whedonesque style, this movie doesn’t just have fun with the genre, it blows it up. Deconstruction is kid stuff—this one delves deep into the psychology behind the universal need to confront evil. The turns it takes are pretty mind-boggling, and the end of the movie is truly demented. You’ll still be laughing, but nervously.

Nouvelle interview de Marti :

Citation :

Nordling Chats With Marti Noxon About FRIGHT NIGHT!

Published at: Aug 19, 2011 10:54:04 AM CDT

FRIGHT NIGHT opens in theaters today and I recently talked with writer Marti Noxon about her work on the film. Any geek worth a damn knows who Marti Noxon is - her work on the BUFFY THE VAMPIRE SLAYER series alone gets her much geek cred - and this phoner interview was a lot of fun. I especially loved talking about SHERLOCK. Really great show, and who knows, maybe we'll see BUFFY's Ripper character again, if Marti has her way.


Nordling: I've seen the film, I really liked it. I thought it was interesting how it honored the original and yet it goes off on its own place as well. But I guess you can't seem to get away from the vampires, huh?


Marti Noxon: I know, and it's funny, it seems to be, it's kind of a sweet spot for me. I can try to do other things and they don't seem to work as well! And of course now vampires are peaking. I also just did a rewrite on PRIDE AND PREJUDICE AND ZOMBIES, so maybe zombies will work out for me too.

Nordling: A lot of the fun of the film was how you try to skirt the rules. The rules are pretty solid but you have to go around them, like about how you can't get in the house without being invited, and what Jerry does to get in the house - I don't want to spoil because people will be reading it, but I thought that was really clever. I love how the rules are tweeked a little bit.


Marti Noxon: Like how when you start to turn and then something bad would happen.

Nordling: It respects the source material. How much of the original film did you want to bring into this one or did you want to stick with the premise and go in your own direction?


Marti Noxon: There were a number of classic moments that a lot of us agreed that we really wanted to touch on again, like the moment when Jerry gets in the house and the mom's reaction to that, and the scene in the nightclub is obviously different but we wanted to touch on that. There are many ways in which we stuck to the classic moments in the original, we just made them our own, you know?

Nordling: Since the original came out, and Chris Sarandon plays Dandrige as straight out of a Hammer film, and since then, we've had TWILIGHT, and other vampire films. How much of that did you want to put in there to reference things that have happened since the original, including BUFFY?


Marti Noxon: That was part of the reason that I was excited for the chance to do the movie. We live in a TWILIGHT/BUFFY universe, and TRUE BLOOD, every place you turn everybody's familiar with the tropes, and all the characters in the movie are pretty vampire-savvy, but they're vampire savvy from pop culture, and I thought it would be really fun to try to comment on that while actually making another vampire movie.

Also, you can see that Jerry is not like a lot of these vampires in a lot of these movies. We went really old school in the sense in that he's very much a predator, you know, he's not an emotional creature.

Nordling: You have these other vampires in other films who are elaborate characters who have this huge historical background, but in the end Jerry in FRIGHT NIGHT is pretty much stripped to the basics, where he's all about, "I feed, and I feed, and I feed, and that's all that I am."


Marti Noxon: Right, and that was really Mike DeLuca, one of the producers on this movie, he's a real horror fan, he's a real buff like me, he said to me early on, "Let's just do the shark from JAWS. Let's just make this guy so bad." And I was really excited about that. I came in with the same directive. "Let's go to NEAR DARK and some of those characters, those really awful Southern badasses."

Nordling: In the original FRIGHT NIGHT most of the time Charley's just trying to get people to believe him, but in this one, he tells his mom and his mom decides to give him the benefit of the doubt, even though it sounds outlandish. It's almost as if, they have all this vampire pop culture knowledge to work with, and they use that, but Jerry also uses that, he uses what they know.


Marti Noxon: Right, exactly. He starts to guess that Charley knows what he is pretty early on, and one of the things we knew we couldn't do in this movie is play the question of whether he was or wasn't for very long, because the audience is already well ahead of us. And as much as it's fun to watch people not believe him, we thought we'd have a lot more fun once the chase is on.

Nordling: One of the interesting aspects of Charley Brewster in this one is that he's a kid who's very much trying to find his place, he's putting away a lot of his past, because he's embarrassed, but he has to embrace that again to be able to fight this thing.


Marti Noxon: Exactly. I love how Craig Gillespie, the director, shoots the ending and makes all that very clear that he becomes kind of a whole person. If I was working with a scene, that was how do we, you know part of when you're young is trying to figure out exactly who you are, and when there's parts of us that you don't like, so we try to lop that arm off, and the truth is to become who you are you have to integrate all those parts of yourself to become a man. That's very much part of the journey.

But that was Charley's story, and I could relate to that, because I was a really nerdy kid who thought I was super-unpopular, and as soon as I got a chance to get away from that, for a while I tried to pretend like I didn't know the kids that I had come up with. "No, just don't talk to me in the hall." And I always felt guilty about that, that it was a shame that I got away from myself that way.

Nordling: One of the other aspects that I enjoyed in the film - I loved the cameo-


Marti Noxon: Wasn't that great?

Nordling: Yes, it was. I loved how there was a really complete difference between those two characters. How Colin Farrell plays him like the shark. Did you have like a big vampire bible for yourself for the new film?


Marti Noxon: It's funny, there's a scene in the movie where Charley goes on the Internet to learn about vampires, and that was pretty much what I did. I did that a lot, of course, during the years on Buffy, on all kinds of monsters and creature lore, and I pulled from a lot of different lores, you know, both movie lore, and real, ancient stories, like there's a reference to something called St. Michael's Stake, and that's actually something I found, I can't remember what the origin was, but some real mythology about fighting demons. I did the hybrid, and that was really fun, but I tried to stick to the most important rules. I don't think vampires should be able to walk around in the sunshine.

Nordling: Right. I have a few Buffy questions, because I have a friend of mine who is a huge fan, and I have to ask Marti about Ripper. She's a big Ripper fan, and I know the back story of Giles shows up a little bit, but she wanted to know if you had a really big back story planned for him, and I know at one time there was even a suggestion of having a spin-off character, kind of like a prequel spin-off. right?


Marti Noxon: Yeah, there was a real plan at one point to do it at the BBC, and I still wish we could, because they make some great genre TV. I'm a huge fan of BEING HUMAN, and I'm a huge fan of JEKYLL, and they just do that so well-

Nordling: SHERLOCK is amazing.


Marti Noxon: Oh, SHERLOCK is so good. I keep trying to get people to Netflix it. Benedict Cumberbatch is just incredible.

Nordling: He is. I wanted to see him do the FRANKENSTEIN play.


Marti Noxon: Did you see it on film, because they broadcast it into theaters.

Nordling: Yeah, but I don't think it made it out here. I'm in Houston, and I don't think it played here. So I'll have to find it.


Marti Noxon: I went and it was incredible.

Nordling I love that show. I'm actually more excited for Martin Freeman coming back to that than doing THE HOBBIT!


Martii Noxon: He was amazing too. What a great take on that character. We all dream that one day we can do (RIPPER) in Britain. And who knows? There's still a chance now that you mention it. Wouldn't that be fun. We did have a lot of stuff worked out for that, we just never got a chance to do it.

Nordling: In FRIGHT NIGHT the characters seem like genuine kids, in the original as well as this one. Tell me a little bit about the casting. I thought the casting, especially of Christopher Mintz-Plasse was perfect.


Marti Noxon: The movie was produced my Dreamworks, and Mr. Spielberg was really involved with everything. I think we wanted that Amblin cast, with kids that we could really relate to. And Anton was such a great leading man, because he feels like a real guy. There was an access point problem with people for I AM NUMBER FOUR, because Alex Pettyfer is so perfect. It's hard to relate to that guy. He looks like a male model. And Anton is handsome, but in a way that feels like "oh, he's that good looking guy from school." And he's also vulnerable.

Nordling: Well, it's like watching him come into - it's like seeing, that summer before, is right when it happened, like when puberty happened, and it transformed him and he came back to school that next year, Ithink everybody in their youth has had that, you know, in their sophomore year they go away for the summer, and in their junior year they're an entirely different person. And that's the feeling I got from that character.


Marti Noxon: Right, there were a couple of lines, in fact, I think we had another reference at one point, to somebody saying, "I see your skin cleared up!" We did that a couple of times.

Nordling: And Evil Ed is trying to hold on to that relationship, but he can't keep it because Charley's just moved on. It's interesting, I think everybody's had that in their childhood, that's just growing up. That's a universal thing, I think.


Marti Noxon: Yeah, exactly, I had a friend who we used to have a club called the Room Six And A Half Club because there was this weird room at our school, that was more of a hallway than a room, and the Room Six And A Half Club was basically a club for kids who didn't have any friends, which by its very definition is kind of an oxymoron. But we were all just the weirdest, geekiest, most socially awkward kids in school, and then after a while one of the girls in particular, she was the girl that kept coming up to me, when I got into 7th and 8th grade, and she was like, "Hey, you want to play after school?" and I was like, "Dude, you can't say that! We don't play, don't.." and she was really awesome. And of course she's someone I look back now and she was the coolest girl in school, she was so ahead of all the bullshit, she just didn't care.

Nordling: When you're in the midst of it, it's hard to look outside of it. One of the interesting things about watching the original FRIGHT NIGHT now is that when I saw it I was that age, I was in high school, and when you're looking at it from beyond it's different, and it's like that with the new one as well. You're seeing all these people really wrapped up in these issues that don't really relate to the adults anymore. But the character played by Anton Yelchin, like you said, he kinda comes out of it. It's very much a film about coming to grips with your adulthood.


Marti Noxon: Yeah, and coming to grips with the parts of you that also look back and you think people see you one way and it turns out they don't see you that way at all. You have to be truen to yourself. If there's a hokey message hiding in FRIGHT NIGHT it's certainly about integrating all the parts of yourself. And also, for me, it's that the geeks will inherit the earth, and that's the truth.

Encore une nouvelle interview au sujet de "Fright Night" :

Citation :

A New “Fright Night”: What a Difference a Female Screenwriter Makes

Debates about whether women’s writing was uniquely female or if there was a “feminine voice” permeated much femininist theorizing in the ’70s and ’80s. While I tend to be wary of claims about difference grounded in biological determinism, I do think that for many female writers their experiences as women, or as what Simone de Beauvoir famously called “the second sex,” often inform their writing. This is partially how I account for the remake of Fright Night being much better–and more feminist-friendly–than the original: The screenplay was written by a woman.

Marti Noxon, known for her work on Buffy the Vampire Slayer and then Angel, is obviously no newbie when it comes to vampires–nor when it comes to vampire narratives that take on gender norms and critique them.

In her version of Fright Night, gone is the girlfriend-as-sweet-virgin and the overprotective-but-ineffectual mother. In their place, Imogen Poots is an independent, savvy Amy, and Toni Colette is the smart, successful single mom, Jane. When things turn violent after nice-looking neighbor Jerry (Colin Farrell) is found to be a vampire, Jane drives the get-away SUV, and then saves her son Charley (Anton Yelchin) by staking Jerry with one of her real estate signs. Later, Amy, no damsel in distress, fights alongside Charley against Jerry and the converted Ed (Christopher Minz-Plass).

In the 1985 film, Amy (Amanda Bearse) didn’t do any fighting–she only sweetly hung by Charley’s side–until she was turned vampire by Jerry and became the typically sexed-up evil female. Evil because she is sexual, as has been the case in vampire narratives since Carmilla and Dracula. Contrastingly, in the remake Amy has far more sexual agency–and is not demonized for it.

Further, the film offers an interesting take on masculinity, exploring the ways violent masculinity (as embodied by Jerry) intersects with sexism. Jerry claims women are “ripe” for picking, an attitude echoed by many other male characters, from the “cool kids” at school to magician/vampire hunter Peter Vincent (David Tennant). The script skewers this type of male–both literally, in Jerry’s demise, and figuratively through jokes regarding Vincent’s inability to sexually please his female lover.

Charley, the film’s hero, is held up as a model of good masculinity–not because he successfully kills Jerry so much as because he cares for his mom, loves his girlfriend and helps his neighbors. The film is framed around his “growing up,” something the outset of the film links to his abandoning his superhero playacting days and becoming “cool” so he can snag Amy as a girlfriend. But he is ultimately punished for this “tough guise,” realizing through his interactions with Jerry (the womanizing vampire) and Vincent (the womanizing fraud) that he does not want to be that kind of guy. To add a cherry on top of this already enjoyable meditation on masculinity, we learn that Amy likes him because he is not cool in the tough-guise way. This cinematic portrayal of a lead female refusing to be seduced by violence is all too rare; in fact, it’s usually just the opposite, with women being attracted to “bad macho.”

This is certainly true of Twilight, the modern juggernaut of vampire stories, which Noxon’s screenplay nods to when Amy reads Wuthering Heights (Bella Swan’s favorite book) and knowingly jokes about how “hot” that type of delayed gratification is. Here, Amy is framed as reading between the lines of romance narrative and understanding what it is about such stories that seduce readers. Likewise, she sees underneath Charley’s attempts to be cool, and loves him for not being the type of guy that sees women as “ripe for plucking.”

In the end, Jerry, who Melissa Lafsky aptly describes as “all id and ego: a walking erect cock” is brought down by Mr. Nice Guy. Destroying Jerry also saves the people he has turned, thus suggesting that not only do evil vampires need killing but so does evil masculinity–and that killing it would benefit all of us, not just the men under its thrall.

Nouveau projet pour Marti Noxon, "The Executioner" :


Elle sera productrice exécutive.

Nouveau projet pour Marti, "Ouija" :

Citation :

'Fright Night' Writer to Pen 'Ouija' Screenplay (Exclusive)

Marti Noxon will work on the script for Hasbro and Platinum Dunes.

Ouija may not have a studio home, but the supernatural project is still very much alive and kicking.

Hasbro, which is financing development, and Platinum Dunes, the shingle producing the project, have hired well-regarded scribe Marti Noxon to work on the script.

Noxon cut her teeth and gained geek cred with her work on Buffy the Vampire Slayer and most recently wrote the remake of Fright Night.

Ouija was set up at Universal but was untethered in late August due to budgetary concerns. The move followed Universal's letting go of another Hasbro property, Monopoly.

But Noxon’s hiring shows Hasbro is still very keen on the Ouija project, and is unafraid to spearhead its own development, mirroring moves already made on the Monopoly project. In September, Hasbro and Ridley Scott, who is producing Monopoly, set Scott Alexander and Larry Karaszewski to pen a script.

Ouija is still envisioned as a family adventure in the tone of The Mummy centering on a family who has to deal with otherwordly chaos that is unleashed.

Noxon, who also did a pass on Lionsgate’s Pride and Prejudice and Zombies, is repped by WME and Hansen Jacobson.

Marti Noxon écrit pour l'épisode de Glee de cette semaine sur le thème de Noël ! ^^

Citation :

"Extraordinary Merry Christmas" is the ninth episode and mid-season finale of the third season of the American musical television series Glee, and the 53rd overall. Written by Marti Noxon and directed by Matthew Morrison, it aired on Fox in the United States on December 13, 2011, and featured the post-Sectionals holiday celebrations.

Citation :

Former Buffy Writer Writes "TINK"

Former Buffy Writer Marti Noxen is writing "Tink" A live action Tinkerbell film. Contains Spoilers; included the actress who's playing "Tink"
Back in 2010, Elizabeth Banks was cast as the lead role in Tink, Disney’s live-action feature centered around Peter Pan’s beloved fairy sidekick Tinkerbell. At the time, we knew only that the energetic Banks seemed like perfect casting for the character, but we got a better idea of what to expect from the project when Marti Noxon (Buffy the Vampire Slayer, Fright Night) signed on to pen the rewrite last fall. Noxon likened the film to Disney’s Enchanted, and now Banks is comparing Tink to another popular fish-out-of-water tale — Jon Favreau’s modern holiday favorite Elf. Read Banks’ comments after the jump.

During a recent interview with MovieHole, Banks offered up some details on Tink and its central character:

It’s a live action Tinkerbell movie sort of in the vein of Elf in which I would play Tinkerbell. Tinkerbell gets thrown out of Never Never Land, and it’s about where she goes and who she meets and the adventures she has…. Tinkerbell is one of the greatest characters because she’s mischievous and snarky and fun and sexy and jealous and vengeful.

The comparisons to Elf and Enchanted suggest we’ll be getting a film that’s funny and sweet in equal measure, but both of those movies centered around painfully innocent characters trying to make sense of a cynical universe. Banks’ description of Tinkerbell as “snarky” and “vengeful” makes her sound rather edgier than either Buddy or Giselle, no?
In her earlier comments, Noxon praised the project’s gender politics:
I’m doing a re-write on Elizabeth Banks as Tinkerbell, kind of in the Enchanted world. It’s about her coming to the real world in a non-fairy form. That’s about all I can say about it, but part of my attraction to that was what we were talking about earlier [the aforementioned gender politics].

It’s hard to write or even find a movie for eight- or nine-year-old girls that isn’t about, ya’ know, “I need a boyfriend!” I mean, Tinkerbell has a job! She’s one of the few characters in that fantasy world that actually has a job. I have a seven-year-old daughter and I want more movies for her where afterward I don’t have to make something up like, “You know, the job of running a kingdom is really hard work, and she and the Prince are going to have to communicate a lot…”

Overall, it sounds like Tinkerbell is shaping up to be a welcome example of a strong, complicated female character, and I’m eager to see what Banks and Noxon will make of her. That is, if Tink ever gets off the ground. Banks, who’s also producing along withMcG and Adam Shankman, was careful to stress to MovieHole that the project was still in its early stages at this point.

“We’re in script stage and everybody is really excited and blah, blah, doesn’t mean anything,” she said. “You might as well not even write it down because who knows, it might not even happen.”

http://www.slashfilm.com/elizabeth-banks-compares-tink-elf/

Mother Earth, j'ADORE Marti Noxon et sa franchise, elle est juste énormissime ! Je savais qu'elle n'avait pas été très appréciée du fandom pour quelques trucs, mais perso, j'aime bien son franc-parlé

Quelques interviews d'elle concernant Buffy et notamment Buffy-Spike, Spike, et parfois Buffy-Angel, et la saison 6 en général : tous les shippers en prennent plein la gueule Je kiffe

Interview Zap2it après la fin de la saison 6 :

Citation :

With series creator Joss Whedon not as involved in day-to-day production as in previous seasons -- having "Buffy" spinoffs and a FOX pilot, "Firefly," to keep him busy -- his fellow executive producer, Marti Noxon, has borne the brunt of criticism.

"I don't take that ridiculously personally," Noxon says, "mostly because I didn't design the shape of the season alone. People are always unhappy. I have not had a season in the last four where you didn't have half the people complaining, so it doesn't feel unique to me."

"This year, I think the Spike and Buffy thing has raised more divided opinion."

This relationship -- played out with fairly graphic sex scenes and very dark undertones -- apparently has raised the ire of those who think Buffy should hold out for a reunion with her great love, vampire-with-a-soul Angel (David Boreanaz), who's off on his own spinoff series on The WB Network (don't hold your breath for this one).

It has also created a sizable cadre of fans who think a few years of microchip-induced harmlessness have reformed platinum-haired bad boy Spike, whose capacity for such human emotions as love and compassion is still counterbalanced by his lack of a soul and resultant amoral ruthlessness.

"I understand why people feel the way they do about Spike," Noxon says. "I understand why they feel that a couple of years of changed behavior is enough to warrant complete trust, but I don't share that opinion. It's OK that there's a difference of opinion."

"I don't feel like it's a failure to communicate. We've made our case. Certain people get it and understand it, and other people are going to be Spike-shippers (a term for those in favor of the Spike-Buffy relationship) no matter what. That's in no small part due to the charisma of the actor."

"It's hard to hate him, but I think I feel like we've made a pretty good case for the fact that they probably shouldn't ride off into the sunset together, at least not the way things are now."

"In general, there's controversy, and people have their feelings. I definitely don't take it personally. If people out there are like, 'Oh, the Marti Noxon season sucks,' I laugh, because Joss is just as involved in story-breaking as he's ever been."

Despite what does or does not happen to Spike at season's end, Marsters is contracted to return next year "in one form or another," Noxon says. "It's going to be a good surprise, I think. It's going to be something great."

Noxon does admit that the tone of the season has been dark, with brief breaks such as "Tabula Rasa," a semicomic tale in which the characters temporarily lost their memories.

"Certainly the story line with Buffy has been pretty overwrought," Noxon says. "She came back from the dead, etc. Given that, I think we've found as many opportunities for fun as we could, like being able to do stuff like the memory-loss episode, where you can still make your point, but do it in a lighter way."

"But again, I will say, we hear this every year, 'This year seems very dark. There's not as much fun.' And oh, boy, things are going to get even funnier!"

Another major change this season was the lack of a major villain, or, in "Buffy" parlance, a "Big Bad." This fell instead to the very human Troika, who could neither be dismissed as supernaturally evil nor dispatched with stake or crossbow.

"I do think people find it difficult," Noxon says, "because there's not as clearly a Big Bad. The bad is a little more banal, which sometimes leads to really big bad. Sometimes evil is banal. I hope that people will see that they are the Big Bad in their own way."

"Sometimes it doesn't come from being all arch and villainy; sometimes it comes from not knowing what you're doing. It's the teen-age boys who decided to be badasses for fun, and it got out of control."

As for those slagging the show, Noxon says, "I wish everybody in the whole world loved 'Buffy' all the time, but I hope that the people who hate it keep watching."

Interview E-Online :

Citation :

Fans have been pretty vocal in their criticism of this season. Does it have an effect?

We do listen, but we wouldn't let fan opinion change us dramatically. Sometimes, the fans are going "no, no, no!" and we know we are heading somewhere they will like.

What about the folks who still want Buffy and Angel together?

They call themselves the shippers. These are the people who still have their high school sweetheart's picture in a frame on the wall. They can't seem to let things go. I think Buffy and Angel's relationship was idealized. It was like a fairy tale, in the way young girls dream about--to have this perfect, unattainable man.

But you have to throw curve balls. We gave Buffy and Angel a barrier they couldn't surmount. This locks it into a romantic ideal, because they never fought over who has to do the laundry. They were stuck in the first beautifully passionate stage of love, and that's where it will be forever.

Some of the fans want Buffy and Spike together. Does that surprise you?

Sometimes, things don't go the way we intend. It seemed very obvious to us that the Buffy-Spike relationship couldn't work in the long run, so now we need to reiterate why. We need to get in there and show people the difference between loving someone who is good to be around and loving someone who is good.

I think people have forgotten the Spike of two seasons ago. I mean, he tried to kill Willow! Can you really see Spike and Buffy in a condo deciding what they should watch on TV that night? That's not our thesis. What we want to show is an independent heroine who is not defined by her relationships.

Alors ça :

"What about the folks who still want Buffy and Angel together?

They call themselves the shippers. These are the people who still have their high school sweetheart's picture in a frame on the wall. They can't seem to let things go. I think Buffy and Angel's relationship was idealized. It was like a fairy tale, in the way young girls dream about--to have this perfect, unattainable man."

Et bam, dans les dents Je cite pas pour Spuffy, elle en parle beaucoup, donc je vous recommande plutôt la lecture, mais c'est peu glorieux aussi

Une autre :

Citation :

LOS ANGELES (Zap2it.com) - In "Dead Things," the Feb. 5 episode of UPN's "Buffy the Vampire Slayer," the volatile and tortured relationship between slayer Buffy (Sarah Michelle Gellar) and vampire Spike (James Marsters) took some disturbing turns, as the series once again pushed the envelope of sexual content and violence.

In one scene, the two engaged in intercourse while on the catwalk at the Bronze, Sunnydale's favorite night spot, while Buffy's friends danced below, unaware. Then, near the end of the episode, an argument over whether Buffy should turn herself in for a murder she'd been tricked into thinking she committed turned brutally violent. A frustrated Buffy vented her anger on the unresisting Spike, punching him repeatedly until one eye was swollen shut and his face was bloody.

"I don't think anything about that is OK," says executive producer Marti Noxon. "I don't think that we were trying to say that's OK. That's definitely not offered as a conflict-resolution technique. It's part of the pathology of their relationship."

Whatever Noxon and series creator Joss Whedon intended when they brought together Buffy and Spike -- who cannot hurt humans because of a government-implanted microchip in his head (the exception being Buffy, because of a minor metaphysical loophole explained at the end of the episode) -- the best theme song for the relationship would probably be "Sympathy for the Devil."

"We've been getting so much feedback from fans," says Noxon. "They see Spike as a hero now. I've said to you and other people that the relationship is basically something we thought would reflect the kinds of relationships you choose when you're choosing the wrong person."

"People have been very upset about that. They're like, 'He's not the wrong person. He's all redeemed.' Part of what needs to happen at this point is to show that redemption is possible for Spike, but he's not redeemed now, and their relationship is really based on things that are not healthy."

"It doesn't mean that things won't get better for them, but what it's based on right now isn't healthy. It's not showing Buffy in the greatest light, but our intention was to show that they need to change what it's about, or it's never going to last."

Asked about showing Buffy -- who is supposed to be the hero of the story, and a moral person -- inflicting pain out of anger on someone who is not fighting back, Noxon says, "This will probably inflame fans of a different opinion, but my only answer to it is that this relationship isn't bringing out the best in either of them. Maybe it's bringing out the better in him in some ways, but it's not bringing out the best in her."

"This is bringing out a desperation in her, and she's going to have to deal with that. Long-term, there are definitely repercussions to what's happened."

The viewership for "Buffy" covers a wide age range, from 'tweens to older adults, but Noxon emphasizes that the show isn't targeted at very young viewers.

"I don't think kids should watch 'Buffy' alone," says Noxon. "To me, the show is definitely aimed at older teens and young adults. It doesn't mean that younger people can't watch it and enjoy it a lot of the time, but I just think responsible parents would make sure that they're watching it with them."

SFX Vampire Special Feb 2002 - Marti Noxon Interview

http://membres.multimania.fr/fanficcafe/interview/noxon_sfxvamp.html

Citation :

With "Smashed" the Willow/Tara relationship comes to an end because of Willow's over-use of magic. Meanwhile, Spike believes that his chip is malfunctioning after he's able to hit Buffy and he doesn't feel any pain. Eventually he learns that the problem isn't with his chip, but is, instead, with Buffy, who apparently came back from the grave "wrong". At episode's end, he and Buffy end up making love, literally bringing an abandoned house down around their ears.

"Lots of discussion of how we could get Buffy and Spike to the next phase of their relationship," Noxon says. "We had talked about lots of realistic ways it could happen, and Joss was like, 'It just has to be epic. It can't be a little thing.' The whole notion there was that it was going to come out of the dramatic dynamic they had, which is as much about violence as it is about anything else." Which, again, caused the production team some consternation about possible accusations of post 11 September tastelessness.

"We struggled a little bit because that imagery at the end was something we were eager to hold on to, but we didn't want to be tasteless. Given the fact that there was a lot of bad stuff going on in the real world, we wondered if they should be in a house. Should it fall down? Fortunately, I don't think it played badly."

One big question mark about the episode was Spike's willingness to put the bite on a woman - with only a moment's hesitation - when he thinks his chip wasn't working. Hadn't he evolved beyond that? Audiences had seen Spike transform since the end of season five into a more heroic figure...

"I wonder if the perspective is different when you're watching the show to when you're working on it," muses Noxon. "Maybe our perspective is a little different and we need to sort of catch up with the way people are actually viewing it. In my mind, Spike is always self-centred in his goodness. It's always about his wants and needs. He's not a moral guy and he is good when it serves him to be good. But I don't know if we've put enough emphasis on that this year. He's been a little less ambiguous and a little bit more he's this hero. But he's not a hero.

"People have come to think of him as this softer, more righteous guy," she elaborates, "but at least in my mind he would have eaten that girl; he would have bit her. It wouldn't have been easy and he probably would have had guilt about it after all this time of relating to humans and not thinking of them as snacks. But at his core, he does not have a soul. We still think of him as a sociopath in the sense that he acts the way he thinks people want him to act in order to get what he wants. But, again, maybe we need to shore that up a little bit. Everything's about Buffy and he's made it clear he would hurt people if he could. But I get why people are starting to feel the way they are about him and I think that's why some people feel, 'Why shouldn't Buffy be with him?'

"But if you've lived in the*Buffy*universe for years, the dude is just bad. It's the chip that keeps him from being really bad. It's an interesting question and certainly one that we have talked about and are aware of. Just because I remember Spike from before so well, I'm kind of like, 'This is dangerous territory. This guy should not be trusted.' You can trust him on one level, but if I were Buffy I would trust him with anything related to me, but I wouldn't trust him in the big scheme of things."

As to the rest of the season... Noxon's not talking. Suffice to say, though, that the duo have certainly mapped out the final direction the season will ultimately take.

"In terms of the villain and the kind of character arc for the year, we felt that we couldn't do another sort of apocalypse threat. There is a 'big bad' and things are going to get a lot badder in terms of villainy, but at the same time I think it's a little more organic this season. It doesn't play the same way our villains have in the past. That's just because how many times can they go, 'It's the end of the world as we know it?' So we tried to do something a little different. We had to come up with a different way to create a threat, and I think so far this season our characters are generating as many of their own problems as we're seeing imposed upon them from the outside."*SFX