A Quote by James Franco
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'm starting to teach now: I teach in the graduate film program at NYU and next year I'm going to be teaching at Los Angeles at the film program and English program at UCLA.
If you're a teacher you have to teach the curriculum, all that stuff, you have to teach morals, you have to teach values, and you have to teach, all-importantly, self-control. Because a lot of kids don't have it.
When I get interested in a new topic I teach a class on it. There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.
I got a lot of my film education from sneaking into media labs at USC. I probably owe USC a lot of money.
The thing is, I can teach. I can teach bloody well. So few chefs have that level of generosity. I demand a lot, a f***ing hell of a lot, but I give a lot back.
I've always juggled a lot of projects because at least half the projects you do get shelved. So you have to do a lot of things in order for things to move forward.
I used to teach psychology, and I don't do that anymore. I teach spirituality. And the way that I teach now is just by listening. I listen a lot.
I teach a graduate seminar called "Theorizing Improvisation" that is pretty interdisciplinary, but really makes students deal with black studies seriously. A lot of authors of color, a lot of women of color - those become central to the intellectual trajectory. It considers music, but it also considers areas of thought that might seem unrelated to music. That's partly because we're expanding the notion of what music is beyond objects, beyond scores, beyond things.
There's a lot of stuff they don't teach you in the mythical editors' school. They don't teach you that you're going to have to spend a lot of your life in crisis management.
I typically don't get into predicting the success of my projects. I've been involved with a lot of projects that I thought should have really gained notoriety and furthered my career, only to be met with the cold grasp of disappointment. So I typically stay away from predicting how a film will do.
Little projects - not feature - film projects - you know, theater things, writing things, and jobs like doing rewriting for money, stuff like that. I don't recommend it. It's not a schedule that I'd want, although it was really good for me in a lot of ways. I became a better writer.
Now, it's my belief that Python is a lot easier than to teach to students programming and teach them C or C++ or Java at the same time because all the details of the languages are so much harder. Other scripting languages really don't work very well there either.
We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.
Growing up in New York, there are a lot of tenement buildings and a lot of projects. You don't leave your projects too much. The laundry's there. The grocery store is there. Everything takes place right there. When I got knowledge of myself and thought about moving around the city, hip-hop was something that helped me.
A lot of charter schools are non-union schools that take a lot of teachers from alternative tracks, like Teach For America. They do this in part because a lot of charter schools have very strong ideologies around how they want teachers to teach. And they find that starting with a younger or more inexperienced teacher allows them to more effectively inculcate those ideas.
My ultimate goal is actually to direct and develop projects. I don't want them to be big projects with a lot of special effects because that's not really what appeals to me.
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