James Franco

[EllaC]

What type is this man, he is total perfection! He was Harry in Spiderman 3.

Thanks x

 

James Franco's quotes:

I don't even like to sleep - I feel as if there's too much to do.
It feels really sad, to me, to go to a dark bedroom. It's like surrendering to the night or something.

I am not going to be the guy who's not pulling his weight.

I become kind of obsessive about research.

It's hard when you're doing a film based on a true story to really figure out what all those relationships were.

My job is what I love. I don't need an escape from it.

Because acting was my only professional outlet, I put a ton of pressure on the roles that I did. I overstepped my bounds, I tried to control things that were out of my purview as an actor and in some cases even tried to direct my scenes because I felt I knew how they should run rather than trust the director.

When I was younger, I thought, 'Ok, I'm supposed to do this project because it'll help my career,' but that didn't work because I ended up doing movies that I worked really hard on but I didn't really like and they didn't turn out well, so it was like I lost double. Once I just started working with people and projects I believed in, everything changed and I suddenly had a career that I loved and that I was proud of.

My name is James Edward Franco. Ted is a nickname for Edward. That's what my parents called me. I also got 'Teddy Ruxpin' a lot. It just got to a point where I got sick of it, so when a teacher called out 'James Franco' my junior year of high school, I didn't correct her.

When I was a child, I wanted to be an actor, but I had really bad buckteeth. I didn't want to get braces, but my mom said I couldn't be an actor if I didn't get the braces. So, I got the braces.

I acted professionally for about eight years, and I was writing all that time but never showed anybody any of it. There just came a point after those eight years when I thought, 'There's a lot I can do with acting - there are a lot of things I can express and do creatively, but there are also limitations.'

Showing the addiction and unusual sexual practices are ways of just outlining a much bigger character trait.

Sometimes I get a little sad, and I feel like being alone. Then I talk to my cat about it, and he reminds me I’m James Franco. Then we dance.

I was supposed to go out with this girl, but the plans mixed up because I was working late. So I went to her apartment with a flower. She was asleep, but I really wanted to see her. I figured I'd be like Romeo, and climbed up to her balcony and gave her a rose. She was very shocked. After that, it was over.

For April Fools Day, someone played a really cruel joke on me. They stole ALL my mirrors and I had to go hours without seeing myself. I mean, I couldn’t even do my daily affirmations. What kind of world is this? I tell you, it’s artists like myself that really suffer.

My style is casual-chic? Casual-messy?

Sometimes I think to myself, what should James Franco say next? And then it comes to me. Boobs.

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.

I get to work with incredibly talented young filmmakers and students, and their attitudes and relationship with film is still so pure. That re-inspires me and reminds me why I got into it and what I love about film, and allows me a little reprieve from the business side of it. And it rekindles my love of film.

We tell specific stories about ourselves to ourselves and we're all the heroes of our own lives. But you live through certain experiences with other people, and sometimes they have very different takes on what happened.

I put out a lot of different kinds of material, and maybe people read that as egotistical. Or maybe, since a lot of it does involve some aspect of me, they find it self-aggrandizing. But there’s a long tradition of artists using themselves. Look, I know I’m not perfect. And, who knows, maybe a part of it has to do with self-obsession. But it’s also about using this weird thing that is a public persona as raw material for creative projects.

[JuJu]

ISFp... or ESTp... I'd have to see an interview, but it's one of those.

Edit: i just looked at an interview on youtube, and ESTp seems right.

[EllaC]

ISFp

Really?! Hmm, that explains lots then... he is just so perfect!

Thanks x

[EllaC]

ISFp... or ESTp... I'd have to see an interview, but it's one of those.

Edit: i just looked at an interview on youtube, and ESTp seems right.

Ah, I read an interview with him, and he said he liked spending time alone, out of the lime light, and painting... sounded like a bit of a loner

[eunice]

I never understood girls' fascination for him.

[hellothere]

he kind of used to look like Jeff Buckley, but these days he's looking a bit more of a douchebag

[munenori2]

he kind of used to look like Jeff Buckley, but these days he's looking a bit more of a douchebag

[munenori2]

He almost seems sort of IJ to me.

[JuJu]

He almost seems sort of IJ to me.

What do you think of his type after watching an interview?

[Ms. Kensington]

i think he is an ESTp-looking ISTj.

[Gilly]

I'm thinking Gamma SF, maybe ESI or SEE-Fi? He seems hung over, or maybe high, lol.

I always thought he reminded me of FDG in a way.

[FoxOnStilts]

I always thought he seemed kind of beta, myself.

[ashlesha]

perfection indeed.

I dunno, very vague impressions in order of how much they jump out at me: se/ni, sensing, introverted, serious. which would leave only esi but my impressions are so fuzzy that I wouldn't say it with any degree of confidence.

[Jenna]

IEI-Fe. He is too passive and gentle to be any sensing type (including SEI), especially an aggressor.

[Gilly]

I could maybe see IEI, its not an unreasonable typing, but he doesn't exactly exude Fe, he feels more emotionally flat to me.

[Gilly]

IEI-Fe. He is too passive and gentle to be any sensing type (including SEI), especially an aggressor.

Being passive =\= intuition...wtf...

Idk what koolaid you and DJ have been drinking but it seems weird to me

[717495]

Gamma + IJ. ESI

[Jenna]

I could maybe see IEI, its not an unreasonable typing, but he doesn't exactly exude Fe, he feels more emotionally flat to me.

Being passive =\= intuition...wtf...

Idk what koolaid you and DJ have been drinking but it seems weird to me

Peter wanted me to tell you-
He's a textbook IEI and you should be embarrassed for thinking anything else.


Have you seen pineapple express?

[Gilly]

Peter wanted me to tell you-
He's a textbook IEI and you should be embarrassed for thinking anything else.


Have you seen pineapple express?

Tell Peter to lick my chocolate salty balls

[Sol]

ENTP(?)

[Absurd]

[Animal]

This is a good interview for typing purposes. You can compare James with his younger brother Dave. Edit: Actually, now I'm not so sure of Dave's type.

[Suz]

I never understood girls' fascination for him.

ew me neither..
and his jokes and humor suck

[HERO]

http://www.thedailybeast.com/article...ather-bar.html


[James] Franco: “I don’t like the fact that I’ve been brought up to think a certain way. I don’t like realizing my mind has been twisted by the way that the world has been set up around me. And what that is, is straight, normative kind of behavior. And it’s fucking instilled into my brain. And yeah, I’ll say it, it was a little shocking to me at first, watching that—but only because of the world around me. Only because every fuckin’ toilet paper commercial has a man and a woman living in a house together, and every fuckin’ love story is a dude that wants to be with a girl, and the only way they’re going to be happy is if they walk off into the sunset together. I’m fuckin’ sick of that shit, so if there’s a way for me to break that up in my own mind, I’m all for it.”


Inside James Franco’s Gay S&M Documentary (and Social Satire), ‘Interior. Leather Bar.’

James Franco’s documentary Interior. Leather Bar., appears to be an S&M film featuring hardcore gay sex. But delve a bit deeper, and you’ll find an exploration of heteronormativity.

The myriad artistic endeavors of Oscar-nominated actor James Franco have, of course, been deconstructed to the point of atomization. Is he a grinning provocateur? A gonzo social satirist? A bored Hollywood actor? Or all of the above? Whatever you think of Franco’s intent, there are two things you’d be hard-pressed to deny: he’s prolific (the guy directed three films, wrote a novel, and acted in six more in 2013), and, well, he’s reckless.

So, in 2012, prior to filming the Disney blockbuster Oz: The Great and Powerful, Franco and pal Travis Mathews co-directed Interior. Leather Bar., a meta-documentary that set out to imagine what the “lost footage” that the MPAA ratings board made director William Friedkin cut from his highly controversial 1980 film Cruising looked like.

Cruising centers on Officer Steve Burns (Al Pacino) who's investigating a series of murders during an awful heat wave in late ‘70s New York City. Police suspect that the perpetrator is a serial killer who picks up gay men at S&M clubs in the Meatpacking District, takes them back to seedy motels, and stabs them to death. So, Pacino’s cop must go undercover at the gay leather clubs of Downtown Manhattan in order to catch the killer. The MPAA made Friedkin cut 40 minutes of footage—much of which, legend has it, featured hardcore gay sex—in order to avoid a dreaded X rating.

It’s a problematic film, to say the least—one that depicted Pacino’s descent into the gay underworld as a dark and perilous journey akin to Dante’s descent to hell in his Inferno. There’s a similar scene in Steve McQueen’s Shame in which the sex-addicted protagonist, played by Michael Fassbender, has exhausted all “straight” sexual possibilities, and takes a walk on the wild side. “And that scene where he’s at his lowest point and wants to fuck and goes into a gay club, and it’s depicted like the seventh level of hell,” wrote Franco, “I mean, it goes back to the horrible representations of gays in the '70s, where the gay club is meant to signify everything dark and depraved.”

During the summer of 1979, Village Voice writer Arthur Bell demanded his readers protest the shooting of the film, which “promises to be the most oppressive, ugly, bigoted look at homosexuality ever presented on the screen,” he wrote, “the worst possible nightmare of the most uptight straight. I implore readers… to give Friedkin and his production crew a terrible time if you spot them in your neighborhoods.”

So, Voice readers did everything from blast boomboxes at nearby apartments, fire off air horns, and point mirrors at the shoot to screw up lighting. The acts of sabotage culminated in a thousand protesters marching through the West Village and demanding that Mayor Ed Koch (himself a famous closet case) shut down production.

Friedkin was apologetic about the film, telling HuffPost Live last year, “Gay liberation had begun to make powerful steps forward and I’m sure when Cruising came out, it was not the best foot forward for gay liberation.”

Which brings us to Interior. Leather Bar.

The documentary opens with co-directors Franco and Mathews debating gay marriage while holding meetings with members of the cast.

“The thing that maybe people aren’t looking at is normalizing a queer lifestyle that is incredibly valuable and, if [gay marriage] becomes legal nationally, then pressure will be put on anybody that’s living a gay lifestyle to get married,” says Franco.

It then pivots to Franco’s pal of 15 years, Val Lauren, who’s playing the “Pacino role” in their film. Lauren, who also starred as Sal Mineo in Franco’s biopic of the late, openly-gay actor, Sal, released earlier this year, is reluctant about the mystery project—one that, while it consists of a short script treatment, will also give the actors plenty of room for improvisation.

“I don’t personally like this project,” he tells them. “What I do respond to is James’s mission, even when I don’t understand it.”

Later, Lauren is seen receiving a call from his friend while driving to the set of the film.

“I know you’re at the ‘Franco F*gg*t Project’ today,” the friend says. “I gotta tell you, man, I don’t know where your head is on this, and I think we need to talk about it right away.”

The first thirty minutes of the film consists of the build-up to shooting—mainly, Lauren’s inner struggle of whether or not this is a worthwhile project (and one that will, due to the subject matter and "pornographic" scenes, hurt whatever career he has), as well as the background actor’s—a mix of gay and straight men—expectations of what will follow. Most of the straight actors are worried about potentially having to kiss or fondle other men, while the gay actors mostly, as one actor says, “want to see [Franco] naked.”

Lauren’s apprehension at participating in the film—and its gay scenes—is meant to parallel Pacino’s character’s sense of unease while infiltrating the gay leather clubs. It’s an interesting meditation on straight people’s fears of, as Franco calls it, the “gay lifestyle.” What we witness with Lauren and the other straight actors is a fear of the unknown. Since there’s only a skeleton of a script, they have no clue what they’re about to get themselves into, only that it will be gay-themed. And that’s a large part of where homophobia comes from, isn’t it? Fear of the unknown.

Then, after the thirty minutes of foreplay, we’re treated to five minutes of the recreated Cruising sequence. And yes, it’s pretty racy stuff. Several men—including one in a leather S&M mask—are seen performing oral sex (in close-up) on one another; a man is shown receiving oral sex while puffing away at a cigarette; and there are several close-ups of well-endowed men masturbating. The action then cuts to the Interior. Leather Bar. team filming a scene of a man being brutally paddled, with Franco and Lauren looking on and appearing shocked—yet intrigued. After the scene, Franco consults a visibly shaken Lauren outside and reveals his motivation behind the project:


Franco: “I don’t like the fact that I’ve been brought up to think a certain way. I don’t like realizing my mind has been twisted by the way that the world has been set up around me. And what that is, is straight, normative kind of behavior. And it’s fucking instilled into my brain. And yeah, I’ll say it, it was a little shocking to me at first, watching that—but only because of the world around me. Only because every fuckin’ toilet paper commercial has a man and a woman living in a house together, and every fuckin’ love story is a dude that wants to be with a girl, and the only way they’re going to be happy is if they walk off into the sunset together. I’m fuckin’ sick of that shit, so if there’s a way for me to break that up in my own mind, I’m all for it.”


Lauren: “Do you think there should be gay movies, and people should be able to see [gay sex]?”

Franco: “Yes. Fuck yes! Yes, sex should be a storytelling tool, but we’re so fucking scared of it. Everybody talks about sex, but then don’t dare put it in a movie. Like what the fuck?! Or, you’re allowed to talk about it in certain ways—like locker room humor or frat house humor—but oh, don’t show gay sex. Don’t do that! That’s the fucking devil. In previews, they show people getting fucking blown away and killed, but don’t show gay sex.”

Lauren: “They do show gay sex. They show it in rated X theaters."

Franco: “Yeah! Put it in the fuckin’ mainstream! It’s who we are! Everybody has sex, and everybody thinks about sex all the fuckin’ time… everybody’s fuckin’ watching porn, they just don’t want to talk about it in public! Everybody watches porn!”

Lauren: “You’ve got to really be careful… you’re going to be in a Disney movie.”

Franco: “I don’t know fully what’s going on! It’s about being here, doing this, experiencing this, and putting ourselves out there—and being in a Disney movie and doing it.”


And with that illuminating encounter, the two reach a quasi-understanding: they’re both out to challenge the heteronormative worldview—in particular, straight men’s fear of the gay “unknown.”

Later, we see Franco filming two men who’ve gone home from the club in an apartment scene performing fellatio—in close-up—on one-another, with Lauren looking on. Afterwards, Lauren approaches the two men, who are a real-life couple, and tells them, “I think I learned something. I don’t know what it is, but I’m definitely not the same guy I was when I came in here this morning. You know what, you two were really sweet together. You were there in such a gentle, cool, supportive way.”

The film closes things with a few more minutes of hardcore “lost footage.” We see Lauren, covered in sweat, dancing nervously in the middle of a smoky, caliginous, gay S&M club. Industrial music is blaring. Lauren seems more at ease, dancing like no one’s watching against the film’s imposing, leather-clad “antagonist.” He unleashes a big smile.

“You’re playing a guy who’s going undercover but, to me, he’s not going to a dark, evil place,” Franco tells Lauren earlier in the film. “He’s going to a place that’s beautiful and attractive.”

[Amber]

ESI, the radio brand

[suedehead]

SEI.

[darya]

I cannot handle the hotness . Such a compliment for @Radio : )

Wouldn't type him ESI though.

[may]

hmmm...

I'd still say ESI

[Contra]

I used to think ESI, but I think I agree with IEI more now. He just reminds me of my IEI friend and he also is crazy about his academic studies which could maybe be explained by Ti HA. It would also explain his relationship with Seth Rogan who is some sort of Se dom, I believe.

[Pookie]

Fe very apparent.

SEI is what id choose.

[Olly From Wally World]

Hmmm, how did ESI become a thing with Franky?

[Suz]

of the choices mentioned, iill put in a vote for esi, only because he annoys me.

[Contra]

Fe very apparent.

SEI is what id choose.

Do you think Seth Rogen is Ne dom?

[Radio]

to me most of the "judd apatow" crew seems to be dorky awkward S types, with some N-type side characters. (FEEL FREE TO DISAGREE.)

Jay Baruchel i think is much more likely to be IEI, for example. a couple others IMO:

James Franco - ESI
Seth Rogen - SEI
Michael Cera - SEI
Paul Rudd - SLI
Jason Segel - ESE
Jonah Hill - SLE
Danny McBride - SLE

and then Steve Carrel and Will Ferrell who are IMO both ILE.

[krieger]

the few movies i've seen of him he had this thing going on where every single scene his face was wrought into an emotive grimace, which suggested something more akin to enfj than any introvert serious type. for all i know his real life imago might be introvert but ISFj seems a stretch.

[ScarlettLux]

to me most of the "judd apatow" crew seems to be dorky awkward S types, with some N-type side characters. (FEEL FREE TO DISAGREE.)

Jay Baruchel i think is much more likely to be IEI, for example. a couple others IMO:

James Franco - ESI
Seth Rogen - SEI
Michael Cera - SEI
Paul Rudd - SLI
Jason Segel - ESE
Jonah Hill - SLE
Danny McBride - SLE

and then Steve Carrel and Will Ferrell who are IMO both ILE.

Always thought James Franco, Seth Rogen, Jay Baruchel and Jonah Hill were very Beta/Gamma.. This is the End & the Interview have that making fun of celebrities/real people in a very outrageous, vicious humor kinda thing that's similar imo to South Park (Beta)

Judd Apatow could be IEI or Alpha? I find Freaks & Geeks + Undeclared more light

[lynn]

ESI so/sx 4w3 (edit: 479 tritype? )

there's an interesting article about his life + work: http://nymag.com/movies/profiles/67284/

"(1) Can James Franco possibly be for real?
(2) If he is, then—just logistically—how is all this possible?
(3) And perhaps the biggest mystery of all: Why is Franco doing it? Are his motives honest or dishonest? Neurotic or healthy? Arrogant or humble? Ironic or sincere? Naïve or sophisticated? Should we reward him with our attention or punish him with our contempt? Is he genuinely trying to improve himself or is he just messing with us—using celebrity itself as the raw material for some kind of public prank?"

[maniac]

[maniac]

ESI 4w3 so/sx (edit: 479 tritype? )

I dont think he's a sensor.

[silke]

ESI-Fi 1w2, either so/sx or syn-chain in any case. I'd replace "total perfection" with "total boredom".