Archive for the ‘Marti Noxon’ Category

Marti Noxon Joins Ouija Project

6 December 2011 Leave a comment

Marti Noxon has been hired to work on the script for Ouija a Hasbro and Platinum Dunes project. Ouija is said to be a “family adventure in the tone of The Muummy centering on a family who has to deal with otherworldly chaos that is unleased.”

Source: Hollywood Reporter

Marti Noxon Discusses Pride and Prejudice and Zombies with

21 November 2011 Leave a comment

Marti Noxon to Re-Write Disney’s Live-Action Tinkerbell Movie; Discusses ‘Pride and Prejudice and Zombies’ Problems (Exclusive)

By Peter Hall | Nov 16

Earlier today had the pleasure of speaking with Marti Noxon, a series writer and producer on fantastic shows like Mad Men, Glee, Angel and Buffy the Vampire Slayer, ahead of the December 13th DVD and Blu-ray release of her last feature film, Fright Night. We spoke mostly about how she approached updating the beloved ’80s vampire film, how the gender politics help pin it to a new generation (yes, there’s more going on in Fright Night than you might realize), and how hard the film marketplace makes it on writers trying to play with new ideas.

We’ll be sharing the entire interview when Fright Night hits stores in a few weeks, but today we wanted to share the portion dealing with that last topic. Noxon, who also wrote the screen adaptation of I Am Number Four, is no stranger to having to develop scripts within such a market and trend-driven climate, so we wanted to talk to her about what exactly is going on with Pride and Prejudice and Zombies (another script she wrote) and why it’s seemingly locked in perpetual production turmoil. In the process we also learned that Noxon has been tapped to write Disney’s live-action Tinkerbell movie, Tink, and how she plans to make its focus different than most Disney fairytale movies. What is going on with Pride and Prejudice and Zombies and why do you think it’s such a difficult project to get off the ground?

Marti Noxon: That’s a really good question and I really can’t say because my experience with Lionsgate was always great. They are committed to doing it and really smart and my experience with Craig [Gillespie] was, again, great. Everybody seemed very pleased with where the script ended up, so it’s really a little baffling. I would say it probably, in my suspicions, has to do with the marketplace. It’s very hard to sell a comedy-horror concept. As much as it’s already pre-sold and popular much in the same way Fright Night was, it’s still a little risky. At the same time, you get a success like Zombieland, but then something will come along that makes people nervous again, so I feel like there’s a little bit of that problem, particularly on the casting side. It’s hard to find an actress who is super hot because they might not be inclined to take a risk on something that has a 70 / 30% chance of working, you know? I think it’s more to do with the marketplace than the logistics of the actual project. Is it as difficult as an outsider like me imagines to get a wholly original project made these days? Do wholly original concepts still have a chance or has the market made that much harder?

Noxon: Oh, it’s really hard. I would say it’s close to impossible to get something that’s not, in the genre world, already somehow branded. And even most solid dramas are still based on popular books. Writing something that’s just straight out of your brain without any kind of IP is really tough, but we do our best, but the market is why I’m tending to do stuff based on other material. So what is next for you in the film world?

Noxon: A couple of things. 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…”
Original Interview at

Marti Noxon Executive Producer on Showtime’s The Executioner

11 November 2011 Leave a comment

Marti Noxon has been hired as a non-writing executive producer on Showtime’s new hour long drama, The Executioner, which is based on the true story of Anatole Diebler, official executioner in Paris in the 1800s.

Source: The Hollywood Reporter

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Marti Noxon’s Favourite Horror Comedies From The Daily Beast

22 August 2011 Leave a comment

My Favorite Horror Comedies

Aug 15, 2011 8:15 PM EDT

‘Fright Night’ screenwriter Marti Noxon picks the 10 movies that both scare her and make her laugh, from ‘Evil Dead II’ to ‘Shaun of the Dead’ to ‘Ghostbusters.’

What’s that saying? Dying is easy, comedy is hard? That must mean pulling off death and comedy together is the hardest. The balancing act between two very contrasting tones can feel like an awkward dinner party where a spooky vampire and Don Rickles are both vying for attention. They keep talking over each other’s sentences, and both the jokes and the scares don’t land.

But when it’s done right, it’s blissful. What’s better than that buildup of suspense, followed by the release of a solid laugh? I can think of one thing, maybe. But that’s a different list. In any case, I’ve rarely had a better time at the movies than when I was watching one of these horror comedies:

Shaun of the Dead, 2004

I’d venture to say that, in geek circles, this is the most loved horror comedy in recent memory. Simon Pegg and Edgar Wright, whose British TV series Spaced is at once a delightful slacker sitcom and a brilliant deconstruction of genre tropes, also teamed for this film, which follows a chronic underachiever and perpetual man-child as he tries to grow up and win back his girlfriend. Complicating circumstance? Zombies, natch. The humor varies from dry to over-the-top slapstick–a classic sequence has Shaun sleepily go through his daily walk to the corner store, all the while oblivious to his (now) staggering undead neighbors and a bloody handprint on the refrigerator case. In the end, what makes this movie so special is, while it’s relentlessly clever, it’s also genuinely touching. It’s the perfect coming-of-age story for 29-year-old nerds.


Dark Star, 1974

Going back to 1974 … Directed by John Carpenter and written by Carpenter and Dan O’Bannon, who went on to co-write the not-so-funny classic Alien. This very black sci-fi comedy is part 2001 satire, part Cabin Fever. It’s uneven in places, but really gets under your skin. This is one my dad took me to, thinking it was funny with a capital “fun.” Bad call, Dad. I couldn’t sleep without the lights on for weeks. It ain’t no Galaxy Quest.


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.

Zombieland, 2009

This recent hit grabs you from the opening list of “rules” on how to survive in a post-apocalyptic world (“enjoy the little things,” “cardio”), as seen through the eyes of Jesse Eisenberg’s character—a slightly OCD geek. It’s visually bold, genuinely funny, and features great performances from the entire cast, which includes Emma Stone in one of her first major roles. It has a breezy self-awareness, making fun of horror-movie clichés while managing to be downright eerie at times. And Bill Murray’s cameo is delicious. Assuming you’re hungry for brains.


Jennifer’s Body, 2009

I caught this one on cable, with severely lowered expectations after audiences largely ignored it. Also, those posters of sexy Megan Fox in a schoolgirl’s skirt seemed aimed directly at the cerebral cortex of teenage boys, not genre-loving chicks. But with the team behind it—producer Jason Reitman, a clever script by Diablo Cody, and deft direction by Karyn Kusama—I should have guessed there was more to it. This is a distinctly feminist take on horror and female friendship. If you go into it expecting standard slasher fare, you’ll be disappointed. But I was lured in by the witty dialogue, then genuinely engrossed and creeped out. Amanda Seyfried is winning—and Fox gives a bold, self-skewering performance while being, yes, ridiculously sexy, even with a mouthful of black blood.


Ghostbusters, 1984

Another Reitman, Ivan, directed this classic—the Caddyshack of horror comedies. If you can’t quote it, then obviously you don’t take this stuff seriously. “Dogs and cats, living together!” “Don’t cross the streams!” “Many Shuvs and Zuuls knew what it was to be roasted in the depths of the Slor that day, I can tell you!” “We came, we saw, we kicked its ass.” Yeah, they did.


The Rocky Horror Picture Show, 1975

There’s a reason this musical comedy is still in limited release 36 years after it first hit screens. Loopy and occasionally spooky, this loving tribute to B-horror movies and the sexual revolution still makes me want to don white undies and throw toast at the screen.


Evil Dead II, 1987

We’re back in that damn cabin in the woods. But this time it’s for a “romantic” vacation. Still a bad idea. Directed by Sam Raimi, this is one of the sharpest, funniest, and craziest movies I’ve ever seen. Mention this one in a room of genre writers and you’ll be met with shouts of “We’re not worthy!” Raimi is the king of the sustained slapstick horror sequence. You can feel his connection to the Coen brothers, with whom he collaborated on several projects at the start of their careers—they share a distinctive visual flair and sense of irreverence. I also love any horror movie that was, in part, inspired by a Hamburger Helper commercial.


The Haunting, 1999

This remake of the 1963 original was not intended as a comedy-horror film, but boy, does it deliver. I’d go so far as to say it is to the genre what Showgirls is to … well, Showgirls. I’m one of the few, however, who find the much-lauded original fairly hilarious, so I was primed. This haunted-house story has a promising setup: A shrink brings three people to an isolated mansion to study the effects of human fear. But the over-the-top characters (Catherine Zeta-Jones chews the scenery as a bisexual fashionista! Owen Wilson as a pajama-pants-wearing wisecracker!) and the painful dialogue elicited peals of laughter in the theater I saw it in. At one point, poor Liam Neeson actually has to yell the line “Help her, man, she’s in a fugue state!” There is giddy glee in participating in audience rebellion. At some point, we all decided to get what we could out of our 10 bucks and howl at every ridiculous scene. Good times.


American Werewolf in London, 1981

For some reason, it’s hard to make a good werewolf movie. Funny or unfunny. Maybe it’s because guys in wolf suits look silly. Or because even when they don’t look silly, werewolves just aren’t sexy. Hard to get emotion from a monster dog. But writer-director John Landis struck the perfect balance with this film. David Naughton’s nightmare journey from American tourist to hellhound is always clever, and legitimately haunting as his terrible fate becomes clear. Griffin Dunne also stars as a guy who gets eaten early on but comes back as a wry decaying corpse. Also, Rick Baker’s werewolf effects still hold up as “best of show.” If you find yourself hungering for more humorous were-action, check out the British version of Being Human on BBC America. Creator Toby Whithouse’s premise—a ghost, a vampire, and a werewolf are roommates!—sounds beyond silly, but the show is divine. And Russell Tovey as George, the werewolf, is insanely watchable.

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Marti Noxon is the screenwriter of the new movie Fright Night. She has written and produced for Buffy the Vampire Slayer, Angel, Mad Men, Grey’s Anatomy, and Prison Break, and also co-wrote the recent film I Am Number Four. Noxon is currently a consulting writer/producer on the third season of the hit Fox series Glee.

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Original Article at The Daily Beast



Latino Review Interview Marti Noxon

8 August 2011 Leave a comment

‘Fright Night’ Set Visit: Interview With Screenwriter Marti Noxon

By Melissa Molina on August 01, 2011

here 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.

Original Interview at Latino Review

Yahoo Interview Marti Noxon

1 August 2011 Leave a comment

Buffy’s Marti Noxon on Joining Glee, Why Britanny is More “Evolved” Than Most

TV Guide – July 27, 2011

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.”

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?
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.

How much of the show have you seen? Were you a fan?
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?
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?
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?
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.

Have you talked to any of the executive producers about exploring that further?
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?
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.
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?
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
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.

Original Interview at Yahoo

Marti Noxon Joins Glee

27 June 2011 Leave a comment

Marti Noxon will join the staff of Glee as a consutlting producer for season three. For the previous two seasons, co-creators, Ryan Murphy, Brad Falchuk and Ian Brennan have taken on all the writing duties but have decided to hire a staff for the next season. Marti joins Allison Adler and Michael Hitchcock as consulting producers and an additional two staff writers have also been hired.

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