“We were having dinner in a pub in the country, and I noticed a man kept staring at me. Outside, as I was leaving, he approached me quite innocently. ‘I hope you don’t mind me saying so, but you look exactly like you’ve been drawn by Tim Burton. Do you know who I mean?’ I replied that not only did I know whom he meant but that I had two children by him and, in fact, he was standing behind him. The man looked round and nearly died.”—Helena Bonham Carter. (via furyandlies) (via iloveyoulessthanpunk) (via sylvysparrow)
Franco’s main artistic obsession—the subject that echoes across all of his various media—is adolescence. This seems appropriate on several levels. His own adolescence was unusually formative: It turned him from an obedient young math prodigy into a turbocharged art fanatic. His defining characteristic, as an actor, is an engaging restlessness—adolescence personified. In fact, you could say that Franco’s entire career is suspended, right now, in a kind of artistic adolescence. We’re watching him transition, a little awkwardly, from one creature (the Hollywood-dependent star) to another (the self-actualized, multiplatform artist). Like real adolescence, it’s a propulsive phase in which energy exceeds control. It’s about extremes—the hysteria to distinguish oneself, to break the rules, to leap into the world and do impossible things. Franco is developing all kinds of new strengths, but at the cost of some of his dignity: His intellectual skin is a little spotty, his artistic legs are suddenly too long for the rest of his body.
“It’s very much walking the line, even for us: ‘is this amazing or is this really, really bad?’ It’s like embracing that middle space, not a grey mediocre middle space, but something risky and provocative. I wouldn’t want to be creating something I felt completely sure of, or that the world could easily swallow. I guess I’m attracted to that risk, so I guess that’s probably great.”—Bianca Casady