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Adapting a book is essentially a collaboration, whether the author is alive or dead.
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
Essentially
Author
Dead
Alive
Whether
Book
Adapting
Collaboration
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The first piece of art that I ever bought - when I could afford it - was a Warhol sketch from the period when he was just getting out of doing commercial work and more into art. It's a sketch of a young guy's face. I guess the gallery that I bought it from thought I would like it because the young guy kind of looked like James Dean.
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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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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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You are successful if you are able to work on the kind of material that you want to - if your life conforms to your dreams, regardless of outside acceptance or acclaim.
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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 was an English major at UCLA when I was 18, and then I left after a year to start acting. I was educating myself during that time.
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Fight scenes are really more like dances than they are fights, because you're depending on your partner to do the right move at the right time. Yes, a tough person or somebody who knows what they're doing will look better in a fight scene, but it also has a lot to do with the other person.
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Always have one artistic thing that is pure, at least one thing, where you don’t compromise. You can do other things to make money, but have one pure area.
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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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When I read the book [The Adderall Diaries] I loved it, and I maybe had an inkling that there was a lot of good material in there. I didn't quite know at the time how to adapt it into a film, but I hoped I would figure it out one day.
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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.
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If liking Katy Perry and drinking margaritas is gay, then who wants to be straight?!
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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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If you just read the book, you're taking in the narrative, you're taking in the characters, you're understanding it in a certain way. If you make a movie it's really an act of translation.
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I don't cast somebody that I think is like my younger self.
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