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Marti Noxon - "Fright Night" Movie - She will write the remake

Webmaster — 2009-11-12T16:08:04Z

Marti Noxon to pen 'Fright Night' redo

1985 comedy-horror was written, directed by Tom Holland

Can you dispatch a vampire with a martini and cigarette smoke ?

"Mad Men" writer-producer Marti Noxon has been hired to pen DreamWorks Studios' revamp of the 1985 horror comedy "Fright Night." Before her work on AMC's "Mad Men," Noxon was a writer-producer on the bloodsucker series "Buffy the Vampire Slayer" and "Angel," so fangs and stakes are in her blood.

Producers Michael De Luca, Michael Gaeta and Alison Rosenzweig set up the "Fright" project in May. DreamWorks executive Mark Sourian is overseeing for the studio.

The original "Fright," released in 1985, was written and directed by Tom Holland and starred Chris Sarandon, Roddy McDowall and William Ragsdale. Ragsdale played a teenager who discovers his neighbors are vampires.

The new version will keep the comedy-horror tone while modernizing the effects.

The WME-repped Noxon also has been a writer-producer on ABC's "Private Practice" and "Grey's Anatomy" and Fox's "Prison Break."

Marti Noxon - "Mad Men" Tv Series - She wrote the Halloween episode

Webmaster — 2009-10-27T21:14:16Z

Click on the link :

http://www.amazon.com/gp/product/B002UCLJWE

Marti Noxon has two new projects for 2010

Webmaster — 2009-07-30T12:52:08Z

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.

Marti Noxon - "Gigantic" Tv Series picked up by The N Cable Channel

Webmaster — 2009-05-15T14:55:14Z

The N picks up 'Gigantic'

Dramedy follows children of A-list celebs

The N is making a "Gigantic" dramedy bet, picking up a half-hour series from veteran producers Marti Noxon and Dawn Parouse.

The N, which will be renamed TeenNick in the fall, has ordered 13 episodes from the new show, produced by Reveille.

"Gigantic" takes a skewering look at the glitzy, chaotic and oftentimes hilarious life of Hollywood "it" kids whose parents are A-list celebrities. It is described as a coming-of-age story set in the world of the Hollywood elite packed with parties and privilege.

The project also will feature testimonials by real-life Hollywood teens as well as celebrity cameos.

Noxon and Parouse serve as executive producers/showrunners of "Gigantic," which will go into production this year.

The series marks the second collaboration between Reveille and the N. The production company also produced the cable channel's reality competition series "Student Body."

"Buffy the Vampire Slayer" alumna Noxon recently served as exec producer/showrunner on ABC's "Private Practice" and did a stint on AMC's "Mad Men."

Nonwriting producer Parouse exec produced Fox's "Prison Break."

Marti Noxon - "NPR" Radio Show about Plot Inconvenience For Writers - Listen the shows

Webmaster — 2009-04-26T11:33:45Z

There are said to be only a few basic plot lines in the western narrative tradition. But what do storytellers do when technology makes old plots seem implausible ? How do you do a story about star-crossed lovers like Romeo and Juliet, when these days, Juliet could text message Romeo : "Just napping. Don't drink poison."

And how do you write a scene with a character talking on a mobile phone when you know, before it's even shot, that the next series of phones will be even smaller ?

Host Scott Simon speaks with novelist Thomas Perry and TV producer Marti Noxon Bynum about how to make fictional plotlines believable in a time of rapid technological development.

Happy Birthday To Marti Noxon, 44 today !

Webmaster — 2008-08-25T19:34:29Z

Date of Birth : 25 August 1964

Location : California, USA

Birth Name : Martha Mills Noxon

Height : 5' 6" (1.68 m)

Spouse : Jeff Bynum (26 August 2000 - present)

Trivia

Took over from Joss Whedon as day-to-day show runner on "Buffy the Vampire Slayer" (1997) at the beginning of the show's 6th season.

She and David Fury had an all-singing cameo in the episode "Once More With Feeling". She was credited as "Parking Ticket Lady" and sang a brief song about the unfairness of getting a parking ticket.

Was a Theater Arts major at UC Santa Cruz (Oakes College, Class of 1987).

Sister of Christopher Noxon. Sister-in-law of Jenji Kohan and David Kohan.

Marti Noxon - "Mad Men" Tv Series - She will write for the show

Webmaster — 2008-07-26T09:34:41Z

The women of 'Mad Men'

They might seem to conform to 1960s gender stereotypes. But the show invites viewers to look deeper.

IN ITS first season, "Mad Men," AMC's glossy series about a group of guys on Madison Avenue, received critical raves for its finely drawn portraits of the employees of Sterling Cooper Advertising Agency. Set in 1960, it focused on Don Draper, a glamorous up-and-comer with a double life and a secret past, and the smart, politically incorrect men around him.

In their pointy bras and flouncy petticoats, the leading women — a secretary, a housewife and a sexy office den mother — might look like stars of television shows in bygone years. They exist in a nonchalantly sexist world where men slap fannies or ask the new girl to shorten her skirt. Agency partner Roger Sterling (John Slattery), for instance, advises Draper : "Remember, Don : When God closes a door, he opens a dress." In pondering the question of what women want, Sterling sneers over a cigarette and a drink, "Who cares ?" (And he's the classy one.)

But while they are marginalized, the women of "Mad Men" are no mere archetypes. They are complicated, glamorous, ambitious and stifled in a way that women in 1960s television never were. With 48 years of hindsight behind their creation, they are marginalized in a particularly subtle way, so that viewers might not even realize they are riveted by their struggles.

One reason, according to the actresses who play them and their creator, Matt Weiner, is that they are really about women now. Even in 1960, viewers couldn't relate to Ozzie and Harriet, Weiner said. "The truth is : A lot of people were laughing at those shows then, at how unrealistic they were." Perhaps it takes a show like "Mad Men" to allow viewers to appreciate the subtle conflicts of women's roles in the workplace and the family. "You have to do it retroactively," said Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University.

In "Mad Men," which will launch its second season next Sunday, the women as well as the men have public, private and secret lives. Most dream of a fairy-tale life, married to a strong man and living in a country house. To that end, the women always look lovely, in neatly coiffed hairdos, makeup and form-fitting dresses requiring military-strength — and, as the actresses said, sometimes painful — undergarments. As January Jones, who plays Draper's wife, Betty, noted, "when you take the girdle off at the end of the day, everything sort of falls."

The stakes get higher

VETERAN television writer Weiner said his main interest in writing the show was Draper (Jon Hamm). He read authors of the period such as J.D. Salinger and Norman Mailer to inform Draper's world. But he also read Helen Gurley Brown and Betty Friedan. And as his mother, sister and wife are professional women, he said he quickly realized how dynamic the conflict in the female professional experience would be. "I said, 'This is the rest of the show.'

"Don has a lot in common with all these women," he said. "He's unable to express himself ; he wants to be a different kind of person than he is. His image of himself is not really who he is. All these women are like that : If you buy into something, you have to live by the consequences."

In Season 2, the story will shift to 1962 and the mood will darken, the actresses said. With five of 13 episodes left to shoot, Elisabeth Moss, who plays Peggy, a secretary who rises to junior account executive, said : "There's a sense of the stakes being higher for all the characters. Everyone has new or the same struggles, but everything is a bit more intense," she said. "Later in the season, there's definitely a sense of, man, this gets dark."

So far, the show has been one of those cult favorites with fewer viewers (1 million average per episode) than its rave notices would suggest. But none of the actresses is complaining. "Even if it gets canceled, we'll still be doing it," Jones said, half-jokingly.

Weiner penned the series while he was still working as a writer for "The Sopranos." The filmed pilot sat on a shelf for a year while he finished work on that show's final episodes. When the actresses auditioned for the pilot, they knew little about the roles. Each auditioned for the role of Peggy. "I signed on with the promise I would have a role," Jones said. Christina Hendricks, who plays office manager Joan, said, "I was, like, whatever one gets to stay is the one I want to play. They were all written so beautifully."

As more episodes were written, Weiner said he employed an unusual number of women for a television show, including Lisa Albert, supervising producer ; Robin Vieth, staff writer ; Marti Noxon, consulting producer ; and the husband and wife writing team Andre and Maria Jacquemetton, supervising producers.

Moss, Jones and Hendricks said what makes their characters so interesting is that they have so many different sides to them. At the same time, each operates at some level of denial.

Peggy, for instance, is bright, talented, ambitious and initially naive when she comes to work. With Claudette Colbert-inspired "bumper bangs" she can't trade on her looks the way Joan and Betty do, and to be taken seriously she has to learn to play the game as the men do. "Every step she takes, every meeting, every idea, every account is a new step for her," Moss said. "Not only her, but the men around her. She takes her hard knocks, but she's definitely not one to make the same mistake twice."

It's important for her to play Peggy as she is, not what she represents, said Moss, who played the president's daughter on "The West Wing" and has appeared in several independent films, including "Virgin." "One of the great things about the show and the characters, why people love them and identify with them, is that they're just people, like you and me, in specific situations and in this time period."

Peggy, written to be 20 in 1960, was "in an extreme state of denial for seven or eight episodes last season," Moss said. After Peggy had sex with Pete Campbell (Vincent Kartheiser), a manipulative young exec, she ignored her subsequent pregnancy and gave birth unexpectedly.

Despite her talent and brains, it's clear she's as unaware as the others, "completely capable of compartmentalizing, especially when it could destroy you," Weiner said.

Maintaining the facade of perfect wife and mother is important to Betty, but she's "not a Stepford wife," said Jones ("We Are Marshall," "The Three Burials of Melquiades Estrada"). Betty, who is 28 in 1960, has a college education and a former career as a model. She knows she has the life the others envy, but strange behavior sends her to a psychiatrist. In Season 1, she was seen slapping a woman in the grocery store and shooting a gun. Betty also formed an odd bond with a neighbor child (played by Weiner's son Marten).

"She has the ultimate realization of luxury," Weiner said. "She was in that world, but she's younger than [Draper] and she knows something now." The question is, is she his child or his wife ? And is that up to her ?

It's rare in television, even now, to find rounded characters for women, said Hendricks, who plays Joan, the head secretary with a voluptuous Marilyn Monroe body and persona. Wise in a "Sex and the Single Girl" way, Joan claims to want a husband but stays in a hopeless, long-term affair with the married Sterling.

"I think Joan's a little bit scared the fairy tale's not there," said Hendricks, who has appeared in numerous television shows ("ER," "The Court"). "When you never finish a project, you can't be disappointed in it." But at 31 in 1962, Joan knows she's quickly passing her prime.

Time to let loose a little

THE ACTRESSES sat together outside the makeup trailers at the Los Angeles Center Studios in downtown where the "Mad Men" sets are meticulously furnished with period detail, from plaid wallpaper to Langendorf bread. Moss, who had changed from her vintage dress and heels into a robe, was able to lean forward and relax. But Hendricks and Jones, still in their form-fitting costumes, eyeliner and Breck Girl hair, sat with the perfect posture forced on them by the clothes.

"I just tip over in some dresses," Hendricks said.

"We have a very high standard now for material," Jones said. "They're spoiling us. I haven't been reading anything even near to the quality of this show," Hendricks said. Where colleagues on other TV shows need to find creative fulfillment in theater or film during hiatus, Hendricks said, "we get that every day."

The short 13-episode season also makes for an ideal situation, if they want to try other jobs in the off-season, they said. Jones, for instance, will star in a film in production titled "The Boat That Rocked," a comedy by Richard Curtis. She'll also appear this summer on the NBC horror anthology "Fear Itself." Hendricks will appear in the film "Driving Lessons" with Hope Davis and Dermot Mulroney.

In TV circa 1960, women's roles were one-dimensional and relatively similar, with no insights at all into their inner lives. In Season 2, 1962, Jackie Kennedy is shown on one episode, leading a tour of the White House in a suit and hat. Thompson said the top shows of that year were "Gunsmoke," a macho program whose one female character, Miss Kitty, runs the saloon ; "Bonanza," about a man and his three sons from different mothers who were gone ; "Hazel," a woman who worked as a maid ; "My Three Sons," another widower with children ; and "Lassie." "The women were either maids or collies," he said.

The signature utopian family shows of the era were "Leave It to Beaver," "The Donna Reed Show" and "Father Knows Best," the title of this last one providing "the pithiest summary of the politics of the era," Thompson said.

The exception was Lucille Ball, who managed to break out of the male-dominated society in nearly every episode of "I Love Lucy." Even though she had to concede to her husband's judgment at the end, she never learned her lesson, Thompson said.

Since then, the old values have proved as hard to shake in real life as on television. In the 1990s, a grown child of the women's movement still struggled with old gender ideas in "Ally McBeal." Even in the current crop of women-led detective or law shows, women can be the sharpest tool at work, but their personal lives are always a mess.

Hendricks, Moss and Jones said the cast always has a good laugh at the impolitic dialogue in their first reading of an episode. "Some of it just feels absurd," Hendricks said. "You think, 'My God, you would never say that in public.' "

On the other hand, they said people still say shockingly sexist and politically incorrect things in public. Jones, for instance, recently found life imitating a "Mad Men" scene. She said she was in an elevator with some men exactly as some characters were in a Season 2 scene, and the men were making the same sort of sexist remarks about women, as if there was no woman in the elevator.

Marti Noxon - Paley Center Buffy Reunion - She joins the incredible line up !

Webmaster — 2008-02-27T20:35:27Z

March 20 ; Thursday ; 7:00 pm
Buffy the Vampire Slayer Reunion
In Person :
Amber Benson, "Tara Maclay"
Nicholas Brendon, "Xander Harris"
Charisma Carpenter, "Cordelia Chase"
Emma Caulfield, "Anya"
Eliza Dushku, "Faith"
Sarah Michelle Gellar, "Buffy Summers"
Seth Green, "Oz"
Alyson Hannigan, "Willow Rosenberg"
James Marsters, "Spike"
Marti Noxon, Executive Producer
Michelle Trachtenberg, "Dawn Summers"
Joss Whedon, Creator
Additional panelists to be (...) - News / Event 2008-03-20 : Paley Fest Buffy Reunion

Marti Noxon - "Writers Guild of America" Strike - She talked on National Public Radio

Webmaster — 2008-01-26T18:11:49Z

While TV networks traditionally commission dozens of scripts for pilot episodes, only some are actually produced and far fewer turn into series. Now several studios say they will cut back on pilots. Marti Noxon, an executive for ABC's Private Practice, talks about how a reduced pilot-production schedule might affect audiences, TV writers and the studios.

Click on the link :

http://www.npr.org/templates/story/story.php ?storyId=18442525

Marti Noxon introduces United Hollywood short film festival - Watch The Video

Webmaster — 2008-01-08T21:30:15Z