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James Franco Talks to Indiewire: ‘I want to make the movies that nobody else is making.’

James Franco Talks to Indiewire: 'I want to make the movies that nobody else is making.'

James Franco has self-branded himself as an experimental
writer-director with an artistic knack for adapting the great works of the
American literary tradition, thanks to his directorial efforts “The Broken Tower,” “As I Lay Dying” and “Child of God,” all films based on classic novels or works of poetry.

Criticized by some for epitomizing a filmmaking style marred
by artistic obscurity, and praised by others for inspiring unconventional
interpretations and visual techniques, Franco’s latest film, “As I Lay Dying” (based on the novel by William Faulkner), in some ways eludes
a typical firefight of opinions for and against it. What is undoubtedly
outside the realm of debate on “As I Lay Dying” is that the film truly embraces
the meaning of a convention-pushing passion project. The drama remains a curiosity-capturing work that warrants debate
not merely in terms of like and dislike, but more importantly of old and new, familiar and unfamiliar.

READ MORE: James Franco Talks ‘The Broken Tower’ and Addresses His Critics

With “As I Lay Dying” currently playing in New York, Franco spoke to us of his long Faulkner-admiration, the expected literature-to-film
adaptation obstacles that began with his debut “The Broken Tower” and continued onwards, and more. 

Why adapt Faulkner’s “As I
Lay Dying”?

It was a long gradual process, I’ve loved Faulkner since I
was about fifteen or sixteen. “As I Lay Dying” was the first Faulkner book I
ever read, my father gave it to me. I had been in a lot of trouble at the time
in Palo Alto so there was a period when I just stayed home on the weekends to
avoid trouble and I remember vividly reading “As I Lay Dying” over the course
of one weekend going back and forth and just really trying to understand the
book reading late into the night on Friday and Saturday while all my friends
were out, but loving it; actually cherishing that experience of just reading. So
that was when my relationship with the book started.

Then I remember before
I went to film school at NYU I was planning to make a short film based on a
Faulkner story called “Red Leaves” which deals with the early history of his
fictional county Yoknapatawpha county and it was
almost like a mini “Apocalypto.” There was a big chase scene and all the
natives in this story were living in a beached river boat and we wanted to do
everything authentically. We budgeted it and it was going to cost like way too
much money and I remember my producing partner Vince saying, “well why don’t
you just spend this money on film school and you know people just won’t
understand if you spend this money on a short you’re just not going to make it
back, why don’t you just go to film school?” So I went to film school and one
of the great things I got at film school was the realization that if I’m
spending all this time and effort to learn how to direct, I should just be
making the movies I want to make. I am no longer in the position where I need to
wait around for people to cast me in movies that I like. I can actually start
the ball rolling and make the movies that I want to make or the movies that
nobody else is making. So that kind of pushed me to look at all the literature
that I’ve loved over the years. Also I have a bachelor’s in English and I’m
studying English literature now and so I had all these books that over the
years I kind of daydreamed about making or hoped that somebody would come to me
with a script based on Hart Crane’s life. So eventually I came to “As I Lay Dying,” and I like it for many reasons.

It was one of my
favorite Faulkner novels and I think what I also knew or at least thought about
when adapting it was that it was structurally and stylistically complex which I
like because if I was going to adapt it, it would push me in new directions as
a filmmaker (and) I would have to find solutions that were as unconventional as
the novel. But I also knew that it had a film-simple through line. The mother
dies and the family needs to take her body from the country to the city to bury
her. And so, what I saw there was this great kind of spine that I could rest
all the other stylistically complex things on top of. Robert Altman talked
about that, if (the story) has a through line like a clothes line that he can
always turn to that will always be there to structure the movie and then on
that he could hang whatever he wants and can go off on tangents because he’ll
always have the through line to return to. I guess I thought, “oh wait this can
really give me a chance to try certain stylistic things that will be justified
because the novel is so unconventional, and I also can keep the audience
tethered because I can always depend on this overarching narrative that’s easy
to fall on.”

READ MORE: ‘As I Lay Dying’ Review


How would you
describe applying your experience working on “The Broken Tower” combined with your own
poetic and creative style, to “As I Lay Dying”?

We incorporated a lot of the poems in (“The Broken Tower”)
and that movie was actually a culmination of a series of short films I had been
doing all based on single poems. In the short films, one based on a poem by
Anthony Hecht, (one based on a poem by) Frank Bidart (called) “Herbert White,” and one
by Spencer Reese called “The Clerk’s Tale,” I had been trying different things.
They’re poems, they’re narrative poems, but they’re still poems, so adapting a
poem is not the same as adapting a short story where, generally speaking, there’s
more of a narrative where I think you could say narrative is more or less
primary. In a poem, tone, rhythm, structure these things are almost as
important as narrative, and so when you’re adapting that you’re kind of
adapting different things. With “The Broken Tower” I just wanted to find a
way to just put the poetry in there. You look at (“The Broken Tower”) and each
poem is kind of presented in a slightly different way. You have the character
at a poetry reading reading a poem, you have a poem in voice-over with images
that are not the literal images of the poem. So (for example) there’s a poem called “North Labrador,” that is told in voice-over and (the actual poem consists of)
imagery of an arctic region and (in “The Broken Tower”) the image you actually
see is Hart Crane wandering through a pasture with cows but you could say
emotionally the images and the voice-over poem kind of resonate with each
other. Then there’s a poem about the Brooklyn Bridge and it’s read in voice-over
but what you see is the actual bridge, so there you could say the images and
the voice-over poem kind of match up.

So it was a way to really explore how dense poetic text
could be included in a visual medium and to jump from there to Faulkner. The
reasons I like “As I Lay Dying” or Faulkner was because it’s almost poetry and
he was a failed poet, he wanted to be a poet and came out with one book of
poetry and then kind of gave it up. But you can see the poetic impulse in his
prose and so it’s very dense. So I guess the challenge was, how
do I translate that into a visual medium? How can I use Faulkner’s text as much
as possible, and then how can I find the visual and cinematic equivalence to
Faulkner’s prose style? (For example) in the book each chapter is told from the
perspective of a different character and so you get a sense of multiple
perspectives in the book. So I felt like if I did it exactly like the book
where one chapter is told from one person another chapter is told from another
person and if I did that for the movie it would have been a little clunky, it
wouldn’t work in the same way as the book works it would feel a little rigid. But I still wanted the multiple perspectives, so we came up with the split
screen idea and sometimes you get different views of the same scene, sometimes
the split screen is showing characters in one location and then characters in a
completely different location. So for example, Dewey Dell is at the pharmacy
trying to get an abortion and then the family is at the cemetery digging the
grave and they’re happening simultaneously. I guess that’s my contribution,
interpreting the multiple perspectives through split screen.

And in another way
sort of in line with “The Broken Tower,” I’m trying to get Faulkner’s prose in
there. What he does in the book is he has two levels of consciousness or two
levels of diction, the characters speak one way on the surface when they’re speaking
to each other in quotation marks, but underneath they have these interior
monologues that are incredibly dense and the monologues use diction that these
characters would never be able to use. They are articulating ideals that these
characters would literally not be able to do. But I think what Faulkner is doing
is he’s kind of giving voice to their inner lives so (while) maybe they
couldn’t think as deep as the characters do in their interior monologues, they
maybe could feel as deeply as their inner monologues suggest. So it’s as if
he’s giving voice to them (and) I felt like I couldn’t just do straight
voice-over, we needed to make the voice-over strange as well and so we have the
characters looking directly at the camera or speaking directly to the camera
and it’s an effort to make it strange, to make the familiar unfamiliar. It’s
almost like the confessionals that we find in reality television now but now
it’s in a period piece. And so all of these different techniques coming
together both high and low or contemporary and old-fashioned give us a sense of
Faulkner’s book that is cutting edge but also about people at the turn of the

Where would you say
you derive a lot of your cinematic influence in relation to the aesthetic and
style present in “As I Lay Dying” and more generally as a filmmaker?

At least on this movie and some of the ones that came
before, definitely the Dardenne Brothers, they’re masters of the handheld,
masters of long takes, and masters of capturing life so that it feels ultra-realistic.
So up through “As I Lay Dying” they were filmmakers that my DP and I would
reference, especially “The Son” and “The Child.”

Also I’m very influenced by
Gus Van Sant, I don’t know if this movie in particular was influenced by him
but I’m sure that the way I worked with the actors was, you know I try to stay
hands-off and say as little as I need to and only step in when I need to, which
is a very Van Sant approach. I have to say the split screen, people have
referenced (Brian) De Palma, but I have to say that really just came from the
book, I can’t say that was really influenced by any film or filmmaker as much
as it was just influenced by Faulkner or by trying to interpret Faulkner. Strangely
enough, the voice-over and the direct address to the camera were really kind of
influenced by reality TV. I remember having that idea one day thinking, letting
the voice-over idea kind of percolate my mind and then having that epiphany
like, “what if we did it like a reality TV show, put them in period wardrobe
and shoot it like a Wyatt painting kind of tone but have them actually talk to
the camera like a reality TV show, wouldn’t that be perfect.”

James Franco’s “As I Lay Dying” is scheduled for iTunes release on October 22 followed by a DVD and VOD/iVOD release November 5.

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