Quote

I drank from the bottle again and it was a scary plunge because I always wanted to take too much. It hurt, but it was also impressive, like being in the hands of a bigger force. And because of that, a relief.

James Franco

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James Franco
Age: 46
Born: 1978
Born: April 19
Actor
Film Actor
Film Director
Film Editor
Film Producer
Playwright
Poet
Screenwriter
Teacher
Television Actor
Television Presenter
Writer
Palo Alto
California
James Edward Franco
Much
Scary
Always
Bigger
Like
Hurt
Plunge
Force
Drank
Hands
Bottle
Also
Impressive
Wanted
Bottles
Take
Relief

More quotes by James Franco

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There's a long tradition of teen comedies where the kids are getting drunk on beer and whatever else, so smoking a joint to me is no worse than having a beer. So, if someone has a problem with it, I'll just tell them to relax.
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I have high aspirations. I want to be an architect.
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I worked the drive-through at McDonald's and tried out different accents - Italian, Russian, Irish.
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I loved the book [The Adderall Diaries] I optioned it, I think some years ago. But there's a lot of different threads in the book. It starts off as one thing, where he's trying to cover this murder trial, and then his own life starts to impinge on that, so it becomes something else. I found that fascinating.
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When I was younger, I didn’t know that I should just listen to my own voice, my own artistic sense of things when I was choosing projects, because one of the biggest creative decisions that an actor can make in the film business is what you will work on.
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It's hard when you're doing a film based on a true story to really figure out what all those relationships were.
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You're a white male living in America, brought up in one of the richest cities in the county, Palo Alto. You went to high school with Steve Jobs' daughter, and your journalism teacher is the mother-in-law of Sergey, co-founder of Google.
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Sometimes it is painful to be oneself at other times it seems impossible to escape oneself.
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When I was a young actor, I just didn’t understand how to function in this business as an artist. It is a business, it’s called the film business for a reason, there’s money involved ... But on the flip side, now I do not let the business side of it rule either. It’s a balance.
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I still don't like going to bed alone.
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I've decided I can't really control people's perceptions of me. All I can do is decide on what I work on and how hard I work on it.
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I love that the idea of examining memory, and the way memory is edited was made more interesting because it was being filtered through a writer.
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Sometimes I get a little sad, and I feel like being alone. Then I talk to my cat about it, and he reminds me I’m James Franco. Then we dance.
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There's art on the show that's really bad - these cliché Abstract Expressionist gestural things. It's almost like extensions of my performance, because in the scene I'm really mad.
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For some reason, when I was in junior high school, my friends and I had, like, a cologne-stealing ring.
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I teach a lot - I teach at the UCLA and USC graduate film programs - and a lot of those projects are my students' projects that I act in or I do a cameo.
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I personally just love movies about the creative process.
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Japanese moe relationships socially dysfunctional men develop deep attachments to body pillows with women painted on them.
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Most of the books that I've adapted I'm doing because I love the book and I feel like it's a great work of art in itself, and when it's a great book I feel as a director or a writer that I have a responsibility to rise to the level of the original. It makes me try to reach higher.
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He was so. So dirty, and just moving in front of me, and cute. I was in love with him, especially because he was talking to me.
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