James Franco Quotes

There are many projects that come an actor's way, and one cannot say yes to all of them. Reasons of saying no vary all the time, but for me, it has never been on the pretext of not wanting to work with 'a particular actor' ever! I would never do that.

I would have happily done 'Bourne Legacy,' but a lot of decisions are made for you.

I have a stack of scripts that I've read - I'm in the lucky position where I get offered things - but I haven't wanted to direct many of them.

I admit, I do a lot of projects, but it's because I'm in a position now where I'm reading a lot more scripts and plays and things, and I'm really listening to offers and trying to think what I want to do at any given time.

As drag queens and as comic people, we listen to our own artistic compass all the time.

Doing less films is sometimes intentional, but sometimes things just don't work out.

You have so many offers coming to you so as an actor it is all about finding which project to invest your energy in.

When you ask me why I do one film a year, it is not my fault. I've chosen what I liked from whatever work came my way.

The reason I don't want to say anything about it is it has a strange power to take over the conversation. Just like it's doing with us. I was asked to participate in a documentary about Richard Prince, and be the voice of someone who was appropriated, and I declined. The reason I did is I don't want it to be the subject of the discussion of my work.

I want to make decisions as to where I want to go as an artist, and to get to it in my own way

Research shows that the deciscions of a group as a whole are more thoughtful and creative when there is minority dissent than when it is absent.

I've always believed in making films that you make the little decisions with your head, but you make the big decisions with your heart.

There's this message to comedians in particular, that you shouldn't write it, and a television writer should write it. And that's a prevailing conventional wisdom that I think is really wrong. That's not to say that television writers aren't great, but I think that the belief that some comedy writer's going to be able to capture your voice is naive.

My voice likes rock music. My problem is, I can do a lot of things, but I have to find my own voice.

I've never been in the studio where it felt like I didn't have a voice. Whether I was co-producing or producing by myself, this community is the one place where I really see democracy at its purest.

But this I know; the writer who possesses the creative gift owns something of which he is not always master--something that at times strangely wills and works for itself. He may lay down rules and devise principles, and to rules and principles it will perhaps for years lie in subjection; and then, haply without any warning of revolt, there comes a time when it will no longer consent.

I need to trust myself and go where my instincts tell me, and to be as wild and free as possible in my creative decisions.

We will be looking at things like the confluence of a scene, and we still have all these creative decisions to make. In general, we're going to just try to make these under a half-hour. We're going to try to take that kind of cable TV comedy model.

As far as producing, once we started shooting, I soon realized where the critical decisions about the movies were really being made, and it wasn't on the set. They were being made in the production meetings. That's where producing a movie happens. And that's where I wanted to be. I didn't just want to be a piece, a pawn being played. I wanted to take part in the creative process, and that's how I sort of got introduced to the idea.

Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.

The company should be run from a creative point of view rather than a financial point of view.

Feel empowered. And if you start to do it, if you start to feel your voice heard, you will never go back.

I think it's important that artists use their voices for so much more than just their talent.

You know, albums are a funny thing. They're not like an intellectual decision. It's a collection of your kind of musings. Like it's a collection of your diary entries and you pick which one's gonna make the most sense together and you put out a record and you sort of live it.

Henceforth I would have to cosent to combine two voices: the voice of banality (to say what everyone sees and knows) and the voice of singularity (to replenish such banality with all the élan of an emotion which belonged only to myself).