A Quote by James Franco

Adapting a book is essentially a collaboration, whether the author is alive or dead. — © James Franco
Adapting a book is essentially a collaboration, whether the author is alive or dead.
I was in Los Angeles making 'Dead Again' and the producer, Lindsay Doran , asked me if I'd be interested in adapting this book, .. Austen is my favorite author and I thought, 'Well, of course, I'd be very interested, but I don't know how. I don't know where to start, A, writing a screenplay and B, sort of adapting it from a great novel.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
No one really knows the value of book tours. Whether or not they're good ideas, or if they improve book sales. I happen to think the author is the last person you'd want to talk to about a book. They hate it by that point; they've already moved on to a new lover. Besides, the author never knows what the book is about anyway.
It is an error to divide people into the living and the dead: there are people who are dead-alive, and people who are alive-alive. The dead-alive also write, walk, speak, act. But they make no mistakes; only machines make no mistakes, and they produce only dead things. The alive-alive are constantly in error, in search, in questions, in torment.
The only person I knew how to be with now was myself - but I wasn´t really anyone, and I wasn´t really alive. I was just someone who pretended to be alive, a dead mean who spent his days translating a dead man´s book.
The body is never more alive than when it is dead; but it is alive in its units, and dead in its totality; alive as a congeries, dead as an organism.
It's one of those things where the book has all these stars that burn really bright that you hang onto and they're all saying, 'This is The Girl on the Train experience.' All those stars or hooks needed to be in the film, but sometimes they needed to be a bit different. It's important when adapting such a popular book to hit all those points but also break out expectations without slaughtering the book. And that was, for me, the joy of adapting the book.
The fact that you were essentially dead does not register until you begin to come alive.
Until it is kindled by a spirit as flamingly alive as the one which gave it birth a book is dead to us. Words divested of their magic are but dead hieroglyphs.
You want to know whether we're better off? I've got a little bumper sticker for you: Osama bin Laden is dead and General Motors is alive. Osama bin Laden is dead and General Motors is alive! Osama bin Laden is dead and General Motors is alive!
For an author nothing is as dead as a book once it is written.
I believe that in a good collaboration, the authors bring their strengths to the story; one author's strength cancels the other author's weakness, and back and forth it goes.
The big debate right now is if Saddam is alive or dead. He's dead, then he's alive, then dead, then alive. It's just confusing. Today they showed videotape, and Saddam was speaking at his own funeral.
Each book tends to have its own identity rather than the author's. It speaks from itself rather than you. Each book is unlike the others because you are not bringing the same voice to every book. I think that keeps you alive as a writer.
An author writes a book, and that's the book at that point. And if the author writes the book again, then somehow something has gone wrong, if you see what I mean.
We're constantly taking pictures of ourselves. It's a bit scary, because images are essentially dead, so we judge beauty on something that isn't alive.
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