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Tom Noonan Still Reflecting on “What Happened”

Tom Noonan Still Reflecting on “What Happened” (photo)

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For anyone that’s seen Tom Noonan’s “What Happened Was,” it would be certainly understandable why the actor/writer/director, who so effortlessly played the misanthropic paralegal on a first date with one of his co-workers, would be a little suspicious of an evening celebrating the film in Los Angeles over the long weekend.

“I thought I would make it and it would go away and it kept coming back,” said Noonan of the 1994 Sundance Grand Jury Prize winner. “And I’m glad.”

The screening of “What Happened Was” at Cinefamily was a rare treat regardless, since the dark, low-budget comedy has never been released on DVD. But Noonan flew in from New York to be a part of the repertory theater’s “That Guy!” series, which offered a similar tribute to Bruce Dern a day later and will continue on this month with fetes for character actors such as “Blood Simple”‘s M. Emmet Walsh and Udo Kier. Apparently, the fact that Noonan was sitting through his own work was equally rare, since he admitted he almost never watches his own work when he was describing his approach to playing so many memorable roles.

“To me, the reason people go to movies is to experience someone who’s being honest with themselves, who’s authentic,” said Noonan. “And all that stuff you do like reading and preparing and research, I think, just takes you away from who you are. I’m on the show “Damages.” I’ve never seen “Damages.” I don’t go to the readthroughs. When I read the script, all I read is my lines unless someone’s line comes in between – I don’t want to know nothing. It just doesn’t help me. All I want to do is talk about what it’s like to be me.”

01182011_WhatHappenedWas2.jpgOf course, unlike so many other “That Guys,” Noonan’s full range as an actor and as an artist is on display in “What Happened Was,” which operates as a battle of wits between Noonan and co-star Karen Sillas. It was self-financed from roles he had taken in films like “The Last Action Hero” and “Robocop 2” – as Noonan broke down his approach to taking work in one of the funnier moments of the evening – “What I’ll often do is I’ll take a job in a pretty good movie and then I’ll go off and do a lot of shit and I’ll turn it all down until I’m totally broke, then I’ll pick something really bad as the next thing I do.”

As it turned out, “really bad” could have different definitions in the case of “What Happened Was” since according to Noonan, the film ultimately may have cost him his marriage after then-wife Karen Young refused to take the role opposite him (and he dedicated the film to her) and few other actresses seemed interested.

“After my now-ex-wife wouldn’t do it, I have [the Paradise Theatre] in New York and a slot that I was going to put the play up during and I had to cast it. I had about a week, two weeks. So I started offering everybody I knew and I knew a lot of sort of well-known people. Frances McDormand. Elizabeth McGovern, all these people and they all read it and said, ‘you’re a nice guy, but there’s nothing here.'”

Only Sillas, who was suggested by Noonan’s agent at the last minute, seemed up for the role, which would segue from the stage run to the film without interruption, though Noonan would shoot the whole thing on video first and take out the last 40 pages of a 105-page script before committing it to celluloid. He would waste nothing, using only 8000 feet of film and even used a sound from the crux of the film, where Sillas’ character Jackie tells a horrifying story she intended as the first chapter of a fairytale, as a recurring motif throughout.

“I took the sound of [Sillas’] voice in telling the story, especially when she goes “huuuuuuuuuh” – that sound and put it under everything in the film like when she moves every chair, so you’re hearing her do that screech through the whole movie. I mixed it and you hear it. It’s subliminal.”

01182011_Manhunter.jpgModerator and Cinefamily owner Hadrian Belove encouraged Noonan to tell war stories from some of his other films, which he did with gusto. In particular, Belove wanted to know about Noonan’s work on “Manhunter,” which led to the high point of the evening, a story about how he first got cast in the film, which I’ll print in its entirety:

[Michael Mann] sort of felt like I embodied the feeling of that movie. All he really wanted me to do was to have that feeling that he sort of saw in me in the audition. Because in the audition, I was really good. I scared the shit out of this woman in the room. What happened is they wanted to put all Steppenwolf people in ‘Manhunter’ – John Malkovich, Gary Sinise, those people. And a lot of them either weren’t available or couldn’t do it, so he went to other people who sort of reminded him of them, which I guess I did. The day I went to audition, I had an appointment and they had me waiting for like an hour and a half to go in to read. And this script sounds so creepy and fucked up and I thought fuck this guy. I’m leaving…and I wanted to leave, which I do on occasion. But I waited and when I finally went in, I walk in the door [Michael Mann] started to talk to me, I said ‘Don’t talk to me. I’m going to read and then I’m going to leave. That’s what we’re doing.’ He said, ‘Okay.’ And I sat down and I’m so pissed off and this woman reading with me had just become a casting person. And I wasn’t doing anything. I was just sort of sitting back in a chair – I did the scene [when Francis Dolarhyde ties the guy] to the chair, [and says] “Do you see. Do you see…”

And this woman, she was like shaking and [Mann] was like walking around the room, real excited and watching me. Then I said, ‘Okay.’ And I started to leave. He said, “I wanted to ask you a question…” I said, ‘I told you.’ [smiles] And I left. You don’t talk to Michael Mann like that. He’s like a real control freak like Napoleon. So I left and I called my agent and he said, “You’ve got to go back there. He wants to talk.” I said, ‘Fuck him. He kept me waiting for an hour and a half.’ He said, ‘No, you’ve got to go talk to him.’ So I go back to the office and I come in, I say, ‘You get one question.’ This is not the way to talk to Michael. And he said, “How are you so scary?” And I said, [whispers in most ominous voice] “Scary is people who aren’t scared themselves.”

Noonan would go on to explain that Mann is, in fact, “the greatest guy in the world” – they would later work on “Heat” together – and perhaps it was his commitment to character that cemented the relationship, even if it was unintentional. Noonan said on “Manhunter,” when an assistant director came into his trailer as the sun was setting, the AD asked if he wanted the lights on, to which he jokingly replied, “Francis doesn’t use lights.” Noonan complained, “For the rest of the movie, I couldn’t have any lights on in any room that was dark… the crew would go around making stories and they were terrified of me.”

Other little factoids were learned: For the time being, Noonan only wants to appear in William S. Burroughs-esque attire (per his recent performance on “Louie”) and on “Robocop 2,” he constantly teased Peter Weller by knocking on his helmet and asking, “Peter, are you in there? And I’d say, why are you using a stand-in? Why can’t we get Peter?” But in total, Noonan seemed genuinely humbled by the screening and closed by saying, “It’s very moving to have done something in my life that I actually sort of am proud of and people sort of get it and it’s sort of amazing.”

It should also be mentioned that the Cinefamily opened the evening with this short, “Tom Goes to the Bar,” a slightly surreal black-and-white short featuring an upside-down Noonan and directed by future “Galaxy Quest” director Dean Parisot and edited by the late Tarantino collaborator Sally Menke, which was fascinating in its own right:

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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