I have add DVD screencaps for This is the End to the gallery.
The A-list cast discusses True Story, which tells the real-life tale of Mike Finkel, a disgraced New York Times journalist who develops a close bond with a suspected killer.
In December 2001, Mike Finkel, a prolific New York Times Magazine journalist, was roped into the most bizarre story of his career. An Oregonian by the name of Christian Longo, who had been accused of brutally murdering his wife and children, had used his name as an alias while he was a fugitive on the run. Then, Finkel’s career came crashing down when his Times Magazine cover story on the life of a young Ivory Coast laborer on a cocoa plantation, “Is Youssouf Malé a Slave?,” was proven to include fabricated and conflated facts. So Finkel, in an effort to repair his name, pursued the Longo story and attempted to get to the bottom of why he used his name, and whether this charismatic, attractive accused killer really did what they say he did.
True Story, directed by Rupert Goold, tells the “true story” of Finkel (Jonah Hill) and Longo’s (James Franco) complex relationship. The more Finkel learns about Longo, the more he begins to empathize with him—and believes he may be innocent. All this doesn’t sit well with Finkel’s girlfriend, played by Oscar nominee Felicity Jones (The Theory of Everything), who begins to question whether the man she loves is once again committing a journalistic sin.
Watch an exclusive behind the scenes video on “The True Story Behind True Story,” featuring the A-list cast (Hill, Franco, and Jones) and crew discussing the strange case and the making of the film:
On last night’s LATE SHOW WITH DAVID LETTERMAN, guest James Franco chatted about North Korea’s Kim Jong-un and his contraversial film “The Interview”. Check out the appearance below!
About LATE SHOW WITH David Letterman:
One look at the LATE SHOW makes it apparent that the program, which is often imitated but never matched, is unlike any other talk show. With its commitment to showcasing the most sought-after stars in entertainment, music, sports and politics, as well as its around-the-town remotes and visits to local establishments, its surprise guest appearances, inventive comedy segments and signature Top Ten List, the LATE SHOW delivers an unpredictable hour of innovative viewing each night.
The LATE SHOW has received numerous honors, including 70 Emmy nominations and nine Emmy Awards, including six for Outstanding Variety, Music or Comedy Program in 1994, 1998, 1999, 2000, 2001 and 2002. The show was named Program of the Year at the 1994 Television Critics Awards, and in 1995, 2001, 2011 and 2012, Letterman was nominated for a Career Achievement Award by the TCA. Letterman was awarded the prestigious Johnny Carson Award for Comedic Excellence at Comedy Central’s first annual “The Comedy Awards” in March 2011. He has won two AMERICAN COMEDY AWARDS as Funniest Male Performer in a Television Series and a Foundation Award from the International Radio and Television Society for his “extraordinary domination in late-night television.” Letterman was also honored as “Favorite Late Night Talk Show Host” at the 31st Annual People’s Choice Awards in 2005.
I have add photos from the world premiere of Heyday of Insensitive Bastards to the gallery.
I have dvd caps from the movie Howl to the gallery.
James Franco took time away from filming his upcoming screen adaptation of John Steinbeck’s In Dubious Battle to talk with a crowd at The Plaza Theatre in Atlanta earlier this morning. The discussion was part of the Atlanta Film Festival , being held in multiple venues throughout the city from March 20th through 29th.
Franco shared his view on multiple topics, ranging from his experiences in acting and directing to advice for budding new filmmakers. The following are a few highlights, along with some photos from the event.
Never Stifle Creativity
With the internet making it extremely easy to reach audiences with platforms such as YouTube and Vimeo, there is nothing that should “stay sitting on the shelf.” He emphasized this importance of getting a final product in front of an audience, saying “I do believe feedback is incredibly important… That is the final ingredient that will make you better.” He also cautioned that some of that feedback can be harmful. Just read the comments section of nearly any YouTube video and you can understand why. In the context of Franco’s “Jack of All Trades” career, including acting, writing, directing, painting – there’s not much the guy hasn’t dabbled in – he advised to not listen to critics that try to pigeonhole talent. Promoting creativity was one of the main messages taken away from his discussion.
Ultimately, Franco is able to do so much because he lets the crew do their jobs. Film production is daunting feat, requiring writing, camera work, lighting, acting, sound, editing and more, and all these disciplines must work together to create the vision of the director and/or producers. He used The Room by Tommy Wiseau as an example, commending Wiseau on his ambition and ability to execute, saying that “He got it done and he made his movie. But, he was working in a collaborative medium, and not understanding it was a collaborative medium. If he had just asked for a little help…maybe he wouldn’t have had to have shot the whole thing in…the parking lot of the lighting rental place.”
Place Yourself Among Those You Trust
Another topic that Franco discussed was the necessity of working with people he trusted, which made it easy for him not to micromanage all aspects of production. Along with his usual crew of Seth Rogen and Evan Goldberg, he mentioned a current co-star from In Dubious Battle, Vincent D’Onofrio (of Full Metal Jacket and Law & Order: Criminal Intent fame). Franco said that there was no reason for him to have to explicitly tell D’Onofrio every detail because he trusted him with the character.
In all, Franco talked for about forty-five minutes to an hour, despite a late night of filming the previous day. The man must run on a gallon of coffee each day, and it was clear the audience was very appreciative for the insights into the film industry which he offered.
Other events showcasing Franco’s work this week at the festival include The Heyday of the Insensitive Bastards (producer), Masculinity/Femininity (actor), and I am Michael (actor).
Wild Horses has a good film hidden inside it, if only writer/director/star Robert Duvall could have found it. Centered on a disturbing mystery, the film takes constant, bizarre and unsettled shifts to comedy throughout, making it far more uncomfortable to watch than it should be.
Duvall plays Steve Briggs, a retired Texas Ranger haunted by the disappearance of a young Latino boy who had a relationship with his youngest son 15 years earlier. As the boy’s disappearance reaches the 15th anniversary, his mother (Adriana Barraza) has the Texas Rangers look into the case once again.
Meanwhile, a new reading of Briggs’ will brings his three sons back together. Devon Abner and Josh Hartnett star as the older brothers, while James Franco pops in for an affecting performance as the youngest son. There’s the typical clash of cultures within the family, of course, since Briggs doesn’t exactly approve of his son’s behavior.
While this all has the making for an in-depth, serious modern Western, Duvall continues to inject odd humor that doesn’t really fit in with the film’s overall tone. It’s clear that he didn’t want to go super serious, like No Country For Old Men, but ongoing jokes about Duvall’s age are unnecessary. There’s also added plot elements (like Briggs’ refusal to accept his housekeeper’s daughter as his own – when she is in reality) seem to only exist to belabor the point that Duvall’s character is old.
Duvall also made the questionable decision of casting his wife, Luciana, as the lead Texas Ranger on the case. It really is remarkable to have a female lead on the case, but one can’t help but wish he cast a more experienced and talented actress in the part. Thankfully, he made some wise decisions with other roles, as Franco excels as the young son. But it’s hard to buy Hartnett as a cowboy.
Wild Horses at least looks beautiful and was photographed by Barry Markowitz (Crazy Heart). However, it’s not a modern Western masterpiece. It’s a story that really just happens to take place in Texas (although filmed in Utah) and not about life and clash of cultures in Texas.
This week in “Things James Franco Does,” Four Two Nine magazine asked if “Gay James Franco” would interview “Straight James Franco.” The full piece isn’t online yet, but Slate published a pull quote from the interview, surmising that “gayness might be defined as something separate from homosexuality,” but also further proving our personal conspiracy theory that there are actual multiple James Francos. (How else could this guy do so many projects?)
Straight James: Let’s get substantial: are you fucking gay or what?
Gay James: Well, I like to think that I’m gay in my art and straight in my life. Although, I’m also gay in my life up to the point of intercourse, and then you could say I’m straight. So I guess it depends on how you define gay. If it means whom you have sex with, I guess I’m straight. In the twenties and thirties, they used to define homosexuality by how you acted and not by whom you slept with. Sailors would fuck guys all the time, but as long as they behaved in masculine ways, they weren’t considered gay.
Actor and filmmaker James Franco is noted, and at times mocked, for treating his life and career as a kind of ongoing art project, but one of his projects might change the way you think of him, and the future of filmmaking.
Our story starts at the Palm Springs Film Festival in January of this year. One of the festival premieres was “Don Quixote: The Ingenious Gentleman of La Mancha.” In movie terms, “Don Quixote” is a cursed text. Failed adaptations of the literary classic about a delusional Spanish knight nearly ended the careers of both Orson Welles and Terry Gilliam.
Who’d be crazy enough to attempt that one? James Franco. Make that professor James Franco, because the “Don Quixote” that premiered at Palm Springs was co-directed by 11 USC students. All professor Franco did was teach the class, fund the project, and co-star in the movie as a brutal highwayman.
“I like to explore alternative approaches to filmmaking,” he says. “And maybe one could say teaching is also a new approach, where I am bringing resources to young filmmakers, I am bringing a source text to be adapted, and then after that, I’m trying to take my hands off the final product, turning it over to my students.”
But a premiere is the third act of a production process. To understand the Franco/Watson student production model, you’d really have to start over, from Act One, the preproduction phase. Or, the start of class. Veteran producer John Watson co-teaches Franco’s class. He says, “My first rule I say to them is leave your ego at the door. This is a joint project.” And they leave accepted wisdom for student films at the door, too. “We broke all the rules. They say you don’t do period. You don’t do horses and animals and children. You don’t do stunts. And you certainly don’t do massive complicated effects sequences.” But they HAD to do windmills, right?
When I visited the class in late February, they were on to the next project. A fresh group of actors, directors and support crew were assembled in a small theatre on the USC campus for a read-through of a script in progress. The script is called “Actor’s Anonymous,” adapted by student screenwriters from Franco’s blackly comic Hollywood novel.
In “Actor’s Anonymous,” Franco will have a small, self-mocking role as a pontificating actor/celebrity with a dark side. It’s a role that mirrors both Franco’s status in Hollywood and his passion for teaching. There are 12 student directors this time, 13 including the AD. They are male and female, multi-ethnic. And two days before the start of principal photography, their emotions run the gamut, from chomping at the bit to quietly terrified.
At the end of the class, Professor Franco gives his student filmmakers some last-minute script notes. His comments are solid. Practical. And scanning all the young faces in the room, it’s hard not to root for them. Fresh and eager, and watching a shared dream come to life. In class after class, Franco’s students aren’t creating resume pieces to prove they can make a feature film later. They’re making real movies — now — that people are paying to see.
James Franco has a child-like enthusiasm when he is behind the camera, his brother Dave has revealed.
The siblings team up for Zeroville, which also sees James in the director’s chair. The comedy-drama, which also stars Seth Rogen, Danny McBride, Megan Fox and Will Ferrell, is the big-screen adaptation of Steve Erickson’s 2007 novel of the same name.
“I love working with him in that capacity, with him as a director, just because he’s the happiest when he’s behind the camera,” Dave said.
“He’s like a little kid when he’s directing. His energy is very infectious. Obviously, he’s a great actor too so he knows how to talk to actors and he can get great performances out of you. I would love to keep working with him in the actor-director relationship.”
Zeroville looks at the power of movies and the influence of Hollywood through the eyes of a young man, who arrives in Hollywood in 1969, during a transitional time in the film industry.
James shaved his hair off for his role.
Dave added: “To be honest, I only have a cameo in that movie. We’ve already shot everything, I was only there for one day.”
— Michael Reynolds (@reynoldsmichael) September 8, 2014