Jim Jarmusch - Wikipedia, the free encyclopedia

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Jim Jarmusch
From Wikipedia, the free encyclopedia

James R. "Jim" Jarmusch (/drm/;[2] born January 22, 1953) is an American independent lm director, screenwriter, actor, producer, editor and composer.[3] Jarmusch has consistently been a major proponent of independent cinema, since the 1980s.[4]

Jim Jarmusch

Contents
1 Early life 1.1 New York 2 Career 2.1 First features and rise to fame: Vacation and Paradise 2.2 Down by Law, Mystery Train, and Night on Earth 2.3 Late nineties, experiments in genre: Dead Man and Ghost Dog 2.4 Late period: Cigarettes, Flowers, and Control 3 As a lmmaker 3.1 Style and characters 3.2 Themes 3.3 Impact and legacy 4 Personal life 5 Awards 6 Selected lmography 7 Discography 8 See also 9 Footnotes 10 References 11 Further reading 12 External links

Born

James R. Jarmusch[1] January 22, 1953 Cuyahoga Falls, Ohio, United States

Alma mater Columbia University (1975) Occupation Film director, screenwriter, actor, producer, editor and composer Years active Partner(s) Sara Driver 1979present

Early life
The key, I think, to Jim, is that he went gray when he was 15 ... As a result, he always felt like an

Jarmusch was born to a family of middle-class suburbanites in Cuyahoga Falls, Ohio in 1953.[4][6][7] His mother, of Irish and German descent, had been a reviewer of lm and theatre for the Akron Beacon Journal before marrying his father, a businessman of Czech and German descent who worked for the B.F. Goodrich Company.

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She introduced the future director, the middle of three children,[5] to the world of cinema by leaving him at a local cinema to watch matinee double features such as Attack of the Crab Monsters and Creature From the Black Lagoon while she ran errands.[9][10] The rst adult lm he recalls having seen was the 1958 cult classic Thunder Road (starring Robert Mitchum) the violence and darkness of Tom Waits, as quoted in The [5] which left an impression on the seven-year-old Jarmusch.[11] Another New York Times, 2005 B-movie inuence from his childhood was Ghoulardi, an eccentric Cleveland television show which featured horror lms.[10] Despite his enthusiasm for lm, Jarmusch, an avid reader in his youth,[4] had a greater interest in literature, a pursuit in which he was encouraged by his grandmother.[1] Though he refused to attend church with his Episcopalian parents (not being enthused by "the idea of sitting in a stuffy room wearing a little tie"), Jarmusch credits literature with shaping his metaphysical beliefs and leading him to reconsider theology in his mid-teens.[11] From his peers he developed a taste for counterculture: he and his friends would steal the records and books of their older siblings William Burroughs, Jack Kerouac, Mothers of Invention.[4][12] They made fake identity documents which allowed them to visit bars at the weekend but also the local art house cinema which though it typically showed pornographic lms would on occasion feature underground lms such as Robert Downey, Sr.'s Putney Swope and Andy Warhol's Chelsea Girls.[4][12] At one point, he took an apprenticeship with a commercial photographer.[4] "Growing up in Ohio", he would later remark, "was just planning to get out".[12]

immigrant in the teenage world. He's been an immigrant a benign, fascinated foreigner ever since. And all his lms are about that.

[1][6][8]

New York
After graduating from high school in 1971,[13] Jarmusch moved to Chicago and enrolled in the Medill School of Journalism at Northwestern University.[7][14] After being asked to leave due to neglecting to take any journalism coursesJarmusch favored literature and art historyhe transferred to Columbia University the following year, with the intention of becoming a poet.[11][14] At Columbia, he studied English and American literature under professors including New York School avant garde poets Kenneth Koch and David Shapiro.[1] At Columbia he began to write short "seminarrative abstract pieces",[1] and edited the undergraduate literary journal The Columbia Review.
[7][15]

During his nal year at Columbia, Jarmusch moved to Paris, for what was initially a summer semester on an exchange program but turned into ten months.[4][13] There, he worked as a delivery driver for an art gallery, and spent most of his time at the Cinmathque Franaise.[4][7] Thats where I saw things I had only read about and heard about lms by many of the good Japanese directors, like Imamura, Ozu, Mizoguchi. Also, lms by European directors like Bresson and Dreyer, and even American lms, like the retrospective of Samuel Fullers lms, which I only knew from seeing a few of them on television late at night. When I came back from Paris, I was still writing, and my writing was becoming more cinematic in certain ways, more visually descriptive. Jarmusch on the Cinmathque Franaise, taken from an interview with Lawrence

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Van Gelder of The New York Times, October 21, 1984.[1] Jarmusch graduated from Columbia University in 1975.[7] Broke and working as a musician in New York City after returning from Paris in 1976, Jarmusch applied on a whim to the prestigious Graduate Film School of New York University's Tisch School of the Arts (then under the direction of Hollywood director Lszl Benedek).[1][4][14] Despite his complete lack of experience in lmmaking, his submission of a collection of still photographs and an essay about lm secured his acceptance into the program.[1] He studied there for four years, meeting fellow students and future collaborators Sara Driver, Tom DiCillo and Spike Lee in the process.[7] During the late 1970s in New York City, Jarmusch and his contemporaries were part of an alternative culture scene centered on the CBGB music club.[16] In his nal year at New York University, Jarmusch worked as an assistant to the renowned lm noir director Nicholas Ray, who was at that time teaching in the department.[7] In an anecdote Jarmusch has recounted of the formative experience of showing his mentor his rst script, Ray disapproved of its lack of action, to which Jarmusch responded after meditating on the critique by reworking the script to be even less eventful. On Jarmusch's return with the revised script, Ray reacted favourably to his student's dissent, citing approvingly the young student's obstinate independence.[17] Jarmusch was the only person Ray brought to work as his personal assistant on Lightning Over Water, a documentary about his dying years on which he was collaborating with Wim Wenders.[4] Nicholas Ray died in the summer of 1979 after a long ght with cancer.[7] A few days afterwards, having been encouraged by Ray and New York underground lmmaker Amos Poe and using scholarship funds given by the Louis B. Mayer Foundation to pay for his school tuition,[1][18] Jarmusch started work on a lm for his nal project.[3][7] The university, unimpressed with Jarmusch's use of his funding as well as the project itself, promptly refused to award him a degree.[13]

Career
First features and rise to fame: Vacation and Paradise
Jarmusch's nal year university project was completed in 1980 as Permanent Vacation, his rst feature lm. It had its premiere at the International Filmfestival Mannheim-Heidelberg (formerly known as Filmweek Mannheim) and won the Josef von Sternberg Award. [13] It was made on a shoestring budget of around $12,000 in misdirected scholarship funds and shot by cinematographer Tom DiCillo on 16 mm lm.[19] The 75 minute quasi-autobiographical feature follows an adolescent drifter (Chris Parker) as he wanders around downtown Manhattan.[20][21] The lm was not released theatrically, and did not attract the sort of adulation from critics that greeted his later work. The Washington Post staff writer Hal Hinson would disparagingly comment in an aside during a review of Jarmusch's Mystery Train (1989) that in the director's debut, "the only talent he demonstrated was for collecting egregiously untalented actors".[22] The bleak and unrened Permanent Vacation is nevertheless one of the director's most personal lms, and established many of the hallmarks he would exhibit in his later work, including derelict urban settings, chance encounters, and a wry sensibility.[21][23] Jarmusch's rst major lm, Stranger Than Paradise, was produced on a budget of approximately

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$125,000 and released in 1984 to much critical acclaim.[24][25] A deadpan comedy recounting a strange journey of three disillusioned youths from New York through Cleveland to Florida, the lm broke many conventions of traditional Hollywood lmmaking.[26] It was awarded the Camera d'Or at the 1984 Cannes Film Festival as well as the 1985 National Society of Film Critics Award for Best Film,[27][28] and became a landmark work in modern independent lm.[29]

Down by Law, Mystery Train, and Night on Earth

In 1986, Jarmusch wrote and directed Down by Law, starring musicians John Lurie and Tom Waits, and Italian comic actor Roberto Benigni (his introduction to American audiences) as three convicts who escape from a New Orleans jailhouse.[30] Shot like the director's previous efforts in black and white, this constructivist neo-noir was Jarmusch's rst collaboration with renowned Dutch cinematographer Robby Mller, who had been known for his work with Wenders.[31] His next two lms each experimented with parallel narratives: Mystery Train (1989) told three successive stories set on the same night in and around a small Memphis hotel, and Night on Earth (1991)[32] involved ve cab drivers and their passengers on rides in ve different world cities, beginning at sundown in Los Angeles and ending at sunrise in Helsinki.[17] Less bleak and somber than Jarmusch's earlier work, Mystery Train nevertheless retained the director's askance conception of America.[33] He wrote Night on Earth in about a week, out of frustration at the collapse of the production of another lm he had written and the desire to visit and collaborate with friends such as Benigni, Gena Rowlands, and Isaach de Bankol.[34] As a result of his early work, Jarmusch became an inuential representative of the trend of the American road movie.[35] Not intended to appeal to mainstream lmgoers, these early Jarmusch lms were embraced by art house audiences,[36] gaining a small but dedicated American following and cult status in Europe and Japan.[37] Each of the four lms had their premiere at the eminent and discerning New York Film Festival, while Mystery Train was in competition at the 1989 Cannes Film Festival.[27] Jarmusch's distinctive aesthetic and auteur status fomented a critical backlash at the close of this early period, however; though reviewers praised the charm and adroitness of Mystery Train and Night On Earth, the director was increasingly charged with repetitiveness and risk-aversion.[13][27] A lm appearance in 1989 as a used car dealer in the cult comedy Leningrad Cowboys Go America further solidied his interest and participation in the road movie genre. In 1991 Jim Jarmusch appeared as himself in Episode One of John Lurie's cult television series Fishing With John.

Late nineties, experiments in genre: Dead Man and Ghost Dog

In 1995, Jarmusch released Dead Man, a period lm set in the 19th century American West starring Johnny Depp and Gary Farmer. Produced at a cost of almost $9 million with a high-prole cast including John Hurt, Gabriel Byrne and, in his nal role, Robert Mitchum,[38] the lm marked a signicant departure for the director from his previous features.[39] Earnest in tone in comparison to its self-consciously hip and ironic predecessors, Dead Man was thematically expansive and of an often violent and progressively more surreal character.[13][39] The lm was shot in black and white by Robby Mller, and features a score composed and performed by Neil Young, for whom Jarmusch

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subsequently lmed the tour documentary Year of the Horse, released to tepid reviews in 1997. Though ill-received by mainstream American reviewers, Dead Man found much favor internationally and among critics, many of whom lauded it as a visionary masterpiece.[13] It has been hailed as one of the few lms made by a Caucasian that presents an authentic Native American culture and character, and Jarmusch stands by it as such, though it has attracted both praise and castigation for its portrayal of the American West, violence, and especially Native Americans.[40] Following artistic success and critical acclaim in the American independent lm community, he achieved mainstream renown with his far-East philosophical crime lm Ghost Dog: The Way of the Samurai, shot in Jersey City and starring Forest Whitaker as a young inner-city man who has found purpose for his life by unyieldingly conforming it to the Hagakure, an 18th-century philosophy text and training Jarmusch (left) and Isaach de manual for samurai, becoming, as directed, a terrifyingly Bankol (right) promoting The Limits deadly hit-man for a local mob boss to whom he may owe a of Control at the San Sebastian debt, and who then betrays him. The soundtrack was supplied International Film Festival in by RZA of the Wu-Tang Clan. The lm was unique among September 2009. other things for the number of books important to and discussed by its characters, most of them listed bibliographically as part of the end credits. The lm is also considered to be an homage to Le Samourai, a 1967 French New Wave lm by auteur Jean-Pierre Melville, which starred renowned French actor Alain Delon in a strikingly similar role and narrative.

Late period: Cigarettes, Flowers, and Control

A ve-year gap followed the release of Ghost Dog, which the director has attributed to a creative crisis he experienced in the aftermath of the September 11 attacks in New York City.[9] 2004 saw the eventual release of Coffee and Cigarettes, a collection of eleven short lms of characters sitting around drinking coffee and smoking cigarettes that had been lmed by Jarmusch over the course of the previous two decades. The rst vignette, "Strange to Meet You", had been shot for and aired on Saturday Night Live in 1986, and paired Roberto Benigni with comedian Steven Wright. This had been followed three years later by "Twins", a segment featuring actors Steve Buscemi and Joie and Cinqu Lee, and then in 1993 with the Short Film Palme d'Or-winning "Somewhere in California", starring musicians Tom Waits and Iggy Pop.[41] He followed Coffee and Cigarettes in 2005 with Broken Flowers, which starred Bill Murray as an early retiree who goes in search of the mother of his unknown son in attempt to overcome a midlife crisis. Following the release of Broken Flowers, Jarmusch signed a deal with Fortissimo Films, whereby the distributor would fund and have "rst-look" rights to the director's future lms, and cover some of the overhead costs of his production company, Exoskeleton.[42] Jarmusch's latest lm, The Limits of Control, opened in the United States on May 22, 2009. A sparse, meditative crime lm set in Spain, it starred Isaach de Bankol as a lone assassin with a secretive
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mission.[43] A behind-the-scenes documentary, Behind Jim Jarmusch, was lmed over three days on the set of the lm in Seville by director La Rinaldi.[44] In October 2009, Jarmusch appeared as himself in an episode of the HBO series Bored to Death. In September 2010, Jarmusch helped to curate the All Tomorrow's Parties music festival in Monticello, New York. He is also working on a documentary about the rock band The Stooges and co-writing a non-traditional opera about the inventor Nikola Tesla.[45] In July 2012, Jarmusch began shooting a new lm, Only Lovers Left Alive, with Tilda Swinton, Tom Hiddleston, Mia Wasikowska, Anton Yelchin, and John Hurt.[46] The lm has been selected to compete for the Palme d'Or at the 2013 Cannes Film Festival.[47]

As a lmmaker
Style and characters
Jarmusch has been characterized as a minimalist lmmaker, and his idiosyncratic lms as unhurried.[24][49] His lms often eschew traditional narrative structure, lacking clear plot progression and focusing more on mood and character development.[9][49][50] In an interview early in his career, he stated that his goal was "to approximate real time for the audience."[51] Jarmusch's early work is marked by a brooding, contemplative tone, featuring extended silent scenes and prolonged still shots.[39] He has experimented with a vignette format in three lms either released or begun around the early nineties: Mystery Train, Night on Earth, and Coffee and Cigarettes. Jarmusch's approach to lmmakingin the words of The Salt Lake Tribune critic Sean P. Meansinvolves "blending lm styles and genres with sharp wit and dark humor",[52] and is pervaded by a signature deadpan comedic tone.[43] The protagonists of Jarmusch's lms are usually lone adventurers.[3] The director's male characters have been described by critic Jennie Yabroff as "three time losers, petty thiefs and inept con men, all [...] eminently likeable, if not down right charming",[39] and by novelist Paul Auster as "laconic, withdrawn, sorrowful mumblers".[15]

Themes
Though his lms are predominantly set in the United States, Jarmusch has advanced the notion that he looks at America "through a foreigner's eyes", with the intention of creating a form of world cinema that synthesizes European and Japanese lm with that of Hollywood.[1] His lms have often included

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old lms, new lms, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And dont bother concealing your thievery celebrate it if you feel like it. In any case, always remember what

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foreign actors and Jean-Luc Godard characters, and (at times said: Its not where substantial) non-English you take things from dialogue. In his two its where you take later-nineties lms, he them to. dwelt on different cultures' experiences of Jim Jarmusch, The Golden Rules of Filming[48] violence, and on textual appropriations between cultures: a wandering Native American's love of William Blake, a black hit-man's passionate devotion to the Hagakure. The interaction and syntheses between different cultures, the arbitrariness of national identity, and irreverence towards ethnocentric, patriotic or nationalistic sentiment are recurring themes in Jarmusch's work.[39][53] Jarmusch's fascination for music is another characteristic that is readily apparent in his work.[13][33] Musicians appear frequently in key roles John Lurie, Tom Waits, Gary Farmer, Youki Kudoh, RZA and Iggy Pop have featured in multiple Jarmusch lms, while Joe Strummer and Screamin' Jarmusch at the 2005 Cannes Film Jay Hawkins appear in Mystery Train and GZA, Jack and Festival. Meg White feature in Coffee and Cigarettes. Hawkins' song "I Put a Spell on You" was central to the plot of Stranger than Paradise, while Mystery Train is inspired by and named after a song popularized by Elvis Presley, who is also the subject of a vignette in Coffee and Cigarettes.[13] In the words of critic Vincent Canby, "Jarmusch's movies have the tempo and rhythm of blues and jazz, even in their use or omission of language. His lms work on the senses much the way that some music does, unheard until it's too late to get it out of one's head."[33] On his narrative focus, Jarmusch remarked in a 1989 interview, "I'd rather make a movie about a guy walking his dog than about the emperor of China."[54]

Impact and legacy

Jarmusch is ascribed as having instigated the American independent lm movement with Stranger Than Paradise.[30] Critic Lynn Hirschberg declared Stranger than Paradise in a 2005 prole of the director for The New York Times to have "permanently upended the idea of independent lm as an intrinsically inaccessible avant-garde form".[5] The success of the lm accorded the director a certain iconic status within arthouse cinema, as an idiosyncratic and uncompromising auteur exuding the aura of urban cool embodied by downtown Manhattan.[55][56] Such perceptions were compounded with the release of his subsequent features in the late 1980s, establishing him as one of the generation's most prominent and inuential independent lmmakers.[57][58] In a 1989 review of his work, Vincent Canby of The New York Times called Jarmusch "the most adventurous and arresting lm maker to surface in the American cinema in this decade".[33] Jarmusch was recognized with the Filmmaker on the Edge award at the 2004 Provincetown

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International Film Festival.[59] A retrospective of the director's lms was hosted at the Walker Art Center in Minneapolis, Minnesota, during February 1994, and another, "The Sad and Beautiful World of Jim Jarmusch", by the American Film Institute in August 2005.[60][61]

Personal life
Jarmusch rarely discusses his personal life in public.[6][9] His longtime girlfriend, lmmaker Sara Driver, worked closely with him on his early lms, but the stress this put on their relationship caused them to break up and resolve thereafter not to work together and have since lived together for many years.[9] He divides his time between New York City and the Catskill Mountains of Upstate New York.[6][62] Jarmusch stopped drinking coffee in 1986, the year of the rst installment of Coffee and Cigarettes, though he remained a smoker.[63] In the early 1980s, Jarmusch was part of a revolving lineup of musicians in Robin Crutcheld's Dark Day project,[64] and Jarmusch at punk club CBGB in New later became the keyboardist and one of two vocalists for The York City on November 30, 2003. Del-Byzanteens,[7] a No Wave band whose sole LP Lies to Live By was a minor underground hit in the United States and Britain in 1982. Jarmusch is also featured on the album Wu-Tang Meets the Indie Culture (2005) in two interludes described by Sean Fennessy in a Pitchfork Media review of the album as both "bizarrely pretentious" and "reason alone to give it a listen".[65] Jarmusch and Michel Gondry each contributed a remix to a limited edition release of the track "Blue Orchid" by The White Stripes in 2005.[66] The author of a series of essays on inuential bands, Jarmusch has also had at least two poems published. He is a founding member of The Sons of Lee Marvin, a humorous "semi-secret society" of artists resembling the iconic actor, which issues communiqus and meets on occasion for the ostensible purpose of watching Marvin's lms.[5][67] He released two corraborative albums with lutist Jozef van Wissem, Concerning the Entrance into Eternity (Important Records) and The Mystery of Heaven (Sacred Bones Records), in 2012.[68][69]

Awards
In 1980 he won with his lm Permanent Vacation the Josef von Sternberg Award at the International Filmfestival Mannheim-Heidelberg In 2004 Jarmusch was honored with the Filmmaker on the Edge Award at the Provincetown International Film Festival. In 2005 he won the Grand Prix of the 2005 Cannes Film Festival for his lm Broken Flowers.

Selected lmography

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Main article: Jim Jarmusch lmography Permanent Vacation (1980) Stranger Than Paradise (1984) Down by Law (1986) Mystery Train (1989) Night on Earth (1991) Dead Man (1995) Ghost Dog: The Way of the Samurai (1999) Coffee and Cigarettes (2003) Broken Flowers (2005) The Limits of Control (2009) Only Lovers Left Alive (2013)[46]

Discography
Concerning the Entrance into Eternity (Important Records, 2012) with Jozef van Wissem The Mystery of Heaven (Sacred Bones Records, 2012) with Jozef van Wissem

See also
No Wave Cinema

Footnotes
1. ^ Hertzberg, Ludvig. "Biography from Current Biography Yearbook 1990 (abridged)" (http://www.jim-jarmusch.net/bio/). The Jim Jarmusch Resource Page. Retrieved May 20, 2009. 2. ^ Hagen, Ray. "Wolfner Library: You Say It How?" (http://www.sos.mo.gov/wolfner /SayHow/?id=j). Missouri Secretary of State web site. Retrieved May 7, 2009. 3. ^ a b c Lim, Dennis (April 23, 2009). "A Director Content to Wander On" (http://www.nytimes.com/2009/04/26/movies /26lim.html?_r=1&pagewanted=all). The New York Times. The New York Times Company. Retrieved April 25, 2009. 4. ^ a b c d e f g h i j Surez 2007, pp. 611 5. ^ a b c d Hirschberg, Lynn (July 31, 2005). "The Last of the Indies" (http://www.nytimes.com /2005/07/31/magazine /31JARMUSCH.html?pagewanted=print). The New York Times (The New York Times Company). Retrieved April 27, 2009. 6. ^ a b c d Hertzberg, Ludvig (October 28, 2008). "The Private Life of James R. Jarmusch" (http://limitedcontrol.posterous.com /the-private-life-of-james-r-ja). Limited Control. Posterous.com. Retrieved November 2, 2009. 7. ^ a b c d e f g h i j Hertzberg 2001, pp. xi xii 8. ^ Jarmusch, Ann (May 12, 1996). "The Jarmusch clan" (http://www.jim-jarmusch.net
abcdefghij

9.

10.

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/lms/dead_man/read_about_it /dead_man_talking_by_kristin.html). Los Angeles Times. Retrieved May 13, 2009. "We grew up near, not in, Akron, Ohio, in an idyllic area that seemed eons away from the stinky, grimy "Rubber Capital of the World." And our father worked for B.F. Goodrich, not Goodyear." ^ a b c d e Hattenstone, Simon (November 13, 2004). "Interview: Simon Hattenstone meets Jim Jarmusch" (http://www.guardian.co.uk /lm/2004/nov/13/features.weekend). The Guardian. Retrieved May 2, 2009. ^ a b Jarrell, Joe (May 9, 2004). "Jim Jarmusch" (http://www.sfgate.com/cgi-bin/article.cgi?le= /chronicle/archive/2004/05 /09/PKG676DSNM1.DTL&type=printable). San Francisco Chronicle. Retrieved April 27, 2009. ^ a b c McKenna, Kristine (May 5, 1996). "Dead Man Talking" (http://www.jimjarmusch.net/lms/dead_man/read_about_it /dead_man_talking_by_kristin.html). Los Angeles Times. ^ a b c Schoemer, Karen (April 30, 1992). "On The Lower East Side With: Jim Jarmusch; Film as Life, and Vice Versa" (http://www.nytimes.com/1992/04/30/garden /on-the-lower-east-side-with-jim-jarmuschlm-as-life-and-vice-versa.html?sec=&spon=& pagewanted=all). The New York Times (The

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New York Times Company). Retrieved April 27, 2009. ^ a b c d e f g h i Crow, Jonathan. "Jim Jarmusch > Biography" (http://www.allmovie.com/artist /jim-jarmusch-95892/bio). allmovie. All Media Guide. Retrieved October 1, 2009. ^ a b c Langdon, Matt (March 17, 2000). "The Way of the Indie God" (http://web.archive.org /web/20070210023842rn_1/ifmagazine.com /feature.asp?article=570). iFMagazine. Archived from the original (http://ifmagazine.com/common /article.asp?articleID=570) on February 10, 2007. Retrieved September 27, 2009. ^ a b Auster, Paul (September 7, 2007). "Night on Earth: New York Jim Jarmusch, Poet" (http://www.criterion.com/current/posts/571). The Criterion Collection. Retrieved May 10, 2009. ^ Olsen, Mark (April 26, 2009). "Jim Jarmusch on 'The Limits of Control'" (http://www.latimes.com/entertainment /news/laca-indiefocus26-2009apr26,0,1638552.story). Los Angeles Times. Retrieved May 7, 2009. ^ a b Kennedy, Mark (March 19, 2000). "Jim Jarmusch refuses to go along" (http://news.google.com /newspapers?id=z7wKAAAAIBAJ& sjid=oE0DAAAAIBAJ&pg=7054,1505589& dq=allintitle:+jim-jarmusch). The Columbian. Associated Press. "He's never seen Obi-Wan Kenobi spar with Darth Vader, or Rhett Butler pop off to Scarlett. Jim Jarmusch, the art-house lmmaker who helped spark a renaissance in independent lm, refuses to actually sit through some of the classics of American cinema. "I pledge I will go to my grave having never seen Gone with the Wind or any Star Wars lm," Jarmusch says. "Just to be obstinate. No other good reason." It's a typical stance from a moviemaker who stubbornly creates lms that critics often complain are too long, too meandering, and too often in black and white." ^ Surez 2007, p. 21 ^ "Jim Jarmusch" (http://www.guardian.co.uk /lm/1999/nov/15 /guardianinterviewsatbsouthbank3). The Guardian. November 15, 1999. Retrieved May 12, 2009. ^ Levy, Shawn (April 2000). "Postcards from Mars" (http://www.jim-jarmusch.net/biblio /online/shawn_levy_postcards_from_m.html). Sight & Sound 10 (4): 2224. Retrieved October 1, 2009. ^ a b Canby, Vincent (September 20, 1990).

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"Jim Jarmusch's First Feature at Archives" (http://www.nytimes.com/1990/09/20/movies /jim-jarmusch-s-rst-feature-at-archives.html). The New York Times (The New York Times Company). Retrieved May 12, 2009. ^ Hinson, Hal (February 2, 1990). "Mystery Train (R)" (http://www.washingtonpost.com /wp-srv/style/longterm/movies/videos /mysterytrainrhinson_a0a8cc.htm). The Washington Post (The Washington Post Company). Retrieved September 27, 2009. ^ Jenkins, Mark (August 31, 2007). "Rediscovering Jarmusch's Minimalist Paradise" (http://www.washingtonpost.com /wp-dyn/content/article/2007/08 /30/AR2007083000633_pf.html). Washington Post (Washington Post Company). Retrieved September 27, 2009. ^ a b Burr, Ty (March 10, 2000). "Ghost Dog: The Way of the Samurai" (http://www.ew.com /ew/article/0,,275620,00.html). Entertainment Weekly. Retrieved May 17, 2009. "... minimalist director who found fame with 1984's Stranger Than Paradise ..." ^ Sterritt, David (February 21, 1985). "On the fringes of lm: writer-director Jim Jarmusch". Christian Science Monitor. "Jim Jarmusch brought in "Stranger Than Paradise" for about $125,000. That's not a budget in today's movie world; it's lunch money." ^ Tobias, Scott (May 19, 2004). "Jim Jarmusch" (http://www.avclub.com/articles /jim-jarmusch,13869/). The A.V. Club. Retrieved May 3, 2009. ^ a b c Tasker, Yvonne (2002). "Stranger than Fiction: The rise and fall of Jim Jarmusch". Fifty Contemporary Filmmakers. Routledge Key Guides. New York: Routledge. pp. 177178. ISBN 0-415-18974-8. OCLC 47764371 (//www.worldcat.org /oclc/47764371) ^ Hartl, John (March 16, 2000). "New on videotape" (http://community.seattletimes.nwsource.com /archive/?date=20000316&slug=4010335). The Seattle Times. Retrieved May 11, 2009. ^ "Stranger Than Paradise (1984)" (http://www.criterion.com/lms/252). The Criterion Collection. Retrieved May 2, 2009. ^ a b Host: Bob Edwards (March 10, 2000). "Prole: Jim Jarmusch's new lm, Ghost Dog: The Way of the Samurai". Morning Edition. National Public Radio. "The 1984 movie Stranger Than Paradise by Jim Jarmusch is credited with launching the independent lm movement. Two years later, Jarmusch introduced American audiences to the wacky Italian actor Roberto Benigni in Down by Law."

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31. ^ Kempley, Rita (October 3, 1986). "Down by Law" (http://www.washingtonpost.com/wp-srv /style/longterm/movies/videos /downbylawrkempley_a0caf0.htm). The Washington Post. The Washington Post Company. Retrieved May 12, 2009. 32. ^ See Gabri Rdenas (2009), Gua para ver y analizar Noche en la Tierra de Jim Jarmusch, Barcelona/Valencia: Octaedro/Nau Llibres, ISBNs: 978-84-8063-931-6 /978-84-7642-776-7. Unluckily, It's not in English, just in Spanish 33. ^ a b c d Canby, Vincent (November 12, 1989). "The Giddy Minimalism Of Jim Jarmusch" (http://www.nytimes.com/1989/11/12/movies /lm-view-the-giddy-minimalism-of-jimjarmusch.html?pagewanted=all). The New York Times (The New York Times Company). Retrieved April 27, 2009. 34. ^ "Jim Jarmusch part two" (http://www.guardian.co.uk/lm/1999/nov/15 /guardianinterviewsatbsouthbank1). The Guardian. November 15, 1999. Retrieved May 12, 2009. 35. ^ Mazierska, Ewa; Laura Rascaroli (2006). Crossing New Europe. Wallower Press. p. 3. ISBN 1-904764-67-3. OCLC 63137371 (//www.worldcat.org/oclc/63137371). "In reverse, North American directors started to absorb the inuence of European road cinema, usually mediated by the 'American' lms by Wim Wenders and Werner Herzog (Stroszek, 1977). The most inuential representative of this trend in recent times is Jim Jarmusch, starting with his Stranger than Paradise from 1984." 36. ^ Rosen, Steven (March 19, 2000). "Change may be in the wind: Jarmusch indie lm has mainstream feel". The Denver Post. "Jim Jarmusch, one of the most ercely independent of current American writer-directors, has never cared if his movies gain mass acceptance. He's been content to appeal to the devoted if limited audience that responds to lm as art. And that audience has embraced his Stranger Than Paradise, Down By Law, Mystery Train and Night on Earth." 37. ^ Katzman, Lisa (May 3, 1992). "The Jarmusch touch in Night on Earth, America's coolest director exhudes a new warmth". Chicago Tribune. "Walking into the cafe where we've agreed to meet on a hot spring day, director Jim Jarmusch takes off his signature black leather jacket. It's the type worn by blues musicians, '50s greasers and the downbeat bohemian odd couple Willie and Eddie of Jarmusch's second lm Stranger than Paradise. A small triangular silver Triumph motorcycle pin afxed to the lapel is a tip-off to one of Jarmusch's chief
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recreational passions. Among Jarmusch cognoscenti, the shock of thick, almost white hair that rises from his head in a handsomely shaped post-punk spike is another unmistakable signature. In the eight years since Stranger than Paradise became an arthouse hit, Jarmusch has garnered a loyal but limited American audience. Yet abroad, particularly in Japan and Europe, both Jarmusch and his lms have achieved cult status. For foreigners, perhaps even more so than for Americans, Jarmusch's lms are the sine qua non of post-modern American hipdom. They articulate a distinctly funky, low-tech, outcast vision of American society that in both ethos and esthetics draws upon and amusingly blends the past ve decades of postwar culture. While in content his lms quietly defy Hollywood's myths of American progress and prosperity, in form (due to their stylistic simplicity and small budgets) they are a retort to the movie industry's bloated excess. Recently, at the Yugoslavian lm festival, 6,000 people turned out to ll a 4,000-seat theater for a midnight showing of Jarmusch's latest lm, Night on Earth in wartorn Belgrade. In the past several months a traveling "Jim Jarmusch Film Festival" was held in major cities throughout Poland. Czechoslavakia [sic] will soon hold such a festival. And in Japan, where the director is a national celebrity, he is offered huge sums to appear in and direct commercials. To date he has turned down all offers." ^ Susman, Gary (May 916, 1996). "Dead Man talking" (http://www.bostonphoenix.com /alt1/archive/movies/reviews/05-09-96 /DEAD_BAR.html). Boston Phoenix. Phoenix Media/Communications Group. Retrieved September 27, 2009. ^ a b c d e Yabroff, Jennie. "Jim Jarmusch, Rock and Roll Director" (http://web.archive.org /web/20020803221149/http://www.addict.com /issues/2.06/html/hi/Features/Jarmusch /index.html). Addicted to Noise 2 (6). Archived from the original (http://www.addict.com/issues /2.06/html/hi/Features/Jarmusch/index.html) on August 3, 2002. Retrieved September 27, 2009. ^ Hall, Mary Katherine (Winter 2000). "Now You Are a Killer of White Men: Jim Jarmusch's Dead Man and Traditions of Revisionism in the Western". Journal of Film and Video 52 (4): 314. ^ Caro, Mark (May 28, 2004). "With 'Coffee,' Jim Jarmusch lacks for rush" (http://chicago.metromix.com/movies/review /movie-review-coffee-and/158893/content). Chicago Tribune. Retrieved May 10, 2009. "But then 1992's "Somewhere in California,"
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which won the Cannes Film Festival's short-lm Palme D'Or, offers the delicious spectacle of [Iggy Pop] and [Tom Waits] meeting in some remote dumpy bar, with Iggy playing the shaggy, eager-to-please puppy while the edgy Waits nds ways to take constant umbrage." ^ Dawtrey, Adam (May 17, 2005). Daily Variety (Reed Business Information). "Jim Jarmusch, whose latest pic "Broken Flowers" premieres in the Cannes competition today, has struck a multi-year rst-look deal with Fortissimo Films. This is the rst time Fortissimo has entered a formal long-term relationship with an individual lmmaker, and marks a major step forward by the Hong Kong and Amsterdam-based sales company in its drive for English-language movies. Fortissimo has agreed to provide nancing to upcoming Jarmusch lms, including a contribution to the overheads of his New York-based production banner Exoskeleton." ^ a b Tobias, Scott (May 8, 2009). "Jim Jarmusch" (http://www.avclub.com/articles /jim-jarmusch,27753 /?utm_source=channel_features). The Onion. Retrieved September 23, 2009. ^ Hertzberg, Ludwig (June 24, 2009). "Behind Jim Jarmusch" (http://limitedcontrol.posterous.com/behindjim-jarmusch). Limited Control. Posterous. Retrieved August 15, 2009. ^ Breihan, Tom (August 20, 2010). "Filmmaker Jim Jarmusch Talks ATP" (http://pitchfork.com /news/39726-lmmaker-jim-jarmusch-talksatp/). Pitchfork.com. Retrieved August 20, 2010. ^ a b Roxborough, Scott (January 30, 2012). "Tilda Swinton, John Hurt Join Jim Jarmusch's Vampire Film 'Only Lovers Left Alive'" (http://www.hollywoodreporter.com/news/tildaswinton-john-hurt-Jim-jarmusch-only-loversleft-alive-285758). The Hollywood Reporter. ^ "2013 Ofcial Selection" (http://www.festival-cannes.fr/en/article /59652.html). Cannes. 18 April 2013. Retrieved 18 April 2013. ^ Jarmusch, Jim (October 20, 2005). "Jim Jarmuschs Golden Rules" (http://www.moviemaker.com/directing/article /jim_jarmusch_2972/). MovieMaker Magazine. MovieMaker Publishing. Retrieved April 26, 2009. ^ a b "Director Jim Jarmusch delivers offbeat mob movie Ghost Dog". The News Tribune. April 21, 2000. "Jim Jarmusch makes movies unlike anyone else's. They're unhurried. They're

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populated by the oddest characters. They do not proceed in straight lines. They're one of a kind." ^ Travers, Peter (April 11, 2001). "Night on Earth : Review" (http://www.rollingstone.com /reviews/movie/5948043/review/5948044 /night_on_earth). Rolling Stone. Retrieved May 7, 2009. ^ http://bombsite.com/issues/2/articles/46 ^ Means, Sean P. (April 21, 2000). "A Samurai Warrior Haunts New Jersey in Ghost Dog". The Salt Lake Tribune. "Jim Jarmusch has always applied the Cuisinart approach to moviemaking, blending lm styles and genres with sharp wit and dark humor" ^ Klein, Joshua (March 15, 2000). "Jim Jarmusch" (http://www.avclub.com/articles /jim-jarmusch,13646/). The A.V. Club. Retrieved May 5, 2009. ^ Hertzberg 2001, p. 92 ^ Dretzk, Gary (June 30, 1996). "Poets and Indians: Jim Jarmusch goes West to bring Dead Man to life". Chicago Tribune. "An idiosyncratic lmmaker whose hip, ironic style has wowed the art-house crowd since the quirky Stranger Than Paradise was released in 1984, Jarmusch embodies urban cool and uncompromising auteurism. His pictures are at once funny, gritty, highly challenging and undeniably American in their multicultural vision." ^ Rosenbaum, Jonathan (March 22, 1996). "A gun up your ass: an interview with Jim Jarmusch" (http://www.sfgoth.com/~kali /onsite10.html). Cineaste. Retrieved September 26, 2009. ^ Blair, Iain (March 2, 2000). "From writing to directing, Jarmusch is in charge". Chicago Tribune. "Over the last decade [Jim] Jarmusch has established himself as one of the leading independent lmmakers of his generation with such comedic and ironic lms as "Stranger Than Paradise," "Down by Law," "Mystery Train," "Night on Earth" and "Dead Man." With his latest lm, which he wrote, produced and directed, Jarmusch once again marches to the beat of his own drummer." ^ Holleman, Joe (March 24, 2000). "Forest Whitaker personies cool in Jarmusch's latest offbeat lm". St. Louis Post-Dispatch. "With the possible exception of John Sayles, there is no independent director who has inuenced the modern independent lm world more than Jim Jarmusch. By combining odd characters, dark comedy and an incredibly hip atmosphere in classic art-house lms such as Down by Law and Stranger Than Paradise, Jarmusch has inuenced and assisted younger indie directors in nding a modicum of commercial success

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with less-than-mainstream fare." 59. ^ Kimmel, Dan (April 6, 2004). "Jarmusch will journey to Provincetown for nod". Daily Variety. "Indie lmmaker Jim Jarmusch will be the sixth recipient of the Filmmaker on the Edge award at the 2004 Provincetown Film Festival, to be held June 1620 in Provincetown, Mass." 60. ^ "Now at AFI: The World of Jim Jarmusch". The Washington Post. August 5, 2005. "This month at its Silver Theatre (8633 Colesville Rd., Silver Spring), the American Film Institute is presenting "The Sad and Beautiful World of Jim Jarmusch," a retrospective of most of the lmmaker's works" 61. ^ "Connect the dots". St. Paul Pioneer Press. February 14, 1994. "Jim Jarmusch has big hair Lyle Lovett big. It suits the man whose too-hip-to-live reputation has made him the King of Counterculture Film and whose work is featured in a Walker Art Center retrospective this month. Jarmusch's disjointed, oddly comic movies and short lms, which include Stranger Than Paradise and Night on Earth, have established him as a master of the minutely observed detail. In his little-seen debut,..." 62. ^ Jarmusch, Jim (August 16, 2005) (audio). Fresh Air (http://www.npr.org/templates/story /story.php?storyId=4801740). Interview with Terry Gross. National Public Radio. WHYY. http://www.npr.org/templates/story /story.php?storyId=4801740. Retrieved May 3, 2009. 63. ^ Torday, Daniel (June 1, 2005). "Q&A with

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Jim Jarmusch" (http://www.esquire.com /features/qa/ESQ0604-JUNE_JARMUSCH). Esquire. Retrieved May 19, 2009. ^ Hertzberg, Ludvig (September 15, 2008). "Dark Day" (http://limitedcontrol.posterous.com/dark-day). Limited Control. Posterous.com. Retrieved May 14, 2009. ^ Fennessy, Sean. "Pitchfork: Various Artists: Dreddy Krueger Presents...Think Differently Music: Wu-Tang Meets the Indie Culture" (http://pitchfork.com/reviews/albums/8748dreddy-krueger-presentsthink-differentlymusic-wu-tang-meets-the-indie-culture/). Pitchfork Media. Retrieved May 2, 2009. ^ Hertzberg, Ludvig (September 17, 2008). "Connecting the white stripes" (http://limitedcontrol.posterous.com /connecting-the-white-stripes). Limited Control. Posterous.com. Retrieved May 14, 2009. ^ Hertzberg 2001, p. 187 ^ Masters, Marc (February 22, 2012). "Jim Jarmusch: Concerning the Entrance Into Eternity" (http://pitchfork.com/reviews/albums /16306-concerning-the-entrance-into-eternity/). Pitchfork Media. ^ Kivel, Adam (November 15, 2012). "Album Review: Jozef Van Wissem & Jim Jarmusch The Mystery of Heaven" (http://consequenceofsound.net/2012/11/albumreview-jozef-van-wissem-jim-jarmuschthe-mystery-of-heaven/). Consequence of Sound.

References
Hertzberg, Ludvig (2001). Jim Jarmusch: Interviews. Jackson: University Press of Mississippi. ISBN 1-57806-379-5. OCLC 46319700 (//www.worldcat.org/oclc/46319700) Surez, Juan Antonio (2007). Jim Jarmusch. Urbana: University of Illinois Press. ISBN 0-252-07443-2. OCLC 71275566 (//www.worldcat.org/oclc/71275566) Rdenas, Gabri (2009), Gua para ver y analizar Noche en la Tierra de Jim Jarmusch, Barcelona / Valencia: Octaedro / Nau Llibres. ISBN 978-84-8063-931-6 / 978-84-7642-776-7 Rdenas, Gabri (2009), Jarmusch y Carver: Se ha roto el frigorco in Fernndez, P. (Ed.), Rompiendo moldes: Discursos, gnero e hibridacin en el siglo XXI. Zamora/Sevilla: Editorial Comunicacin Social. ISBN 978-84-96082-88-5. Available at Google Books. Rdenas, Gabri (2009), Jarmusch Vs Reagan in Revista Odisea. Almera: University of Almera. December 2009. ISSN 1578-3820. Rdenas, Gabri (2010), Jim Jarmusch: Del insomnio americano al insomnio universal, in Comunicacin y sociedad, Navarra: University of Navarra, June 2010. ISSN 0214-0039. Rdenas, Gabri (2011), Jim Jarmusch: Lecturas sobre el insomnio americano (19801991), Spain/Germany: Editorial Acadmica Espaola LAP Lambert Academic Publishing GmbH & Co. KG. ISBN 978-3-8443-3503-3.

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Further reading
Aurich, Rolf; Stefan Reinecke (2001). Jim Jarmusch. Bertz + Fischer. ISBN 3-929470-80-2. OCLC 53289688 (//www.worldcat.org/oclc/53289688) Morse, Erik (May 6, 2009). "The man in Control: Jim Jarmusch interview" (http://www.sfbg.com/blogs/pixel_vision/2009/05/the_man_in_control_jim_jarmusc.html). San Francisco Bay Guardian. Rice, Julian. (2012). The Jarmusch Way: Spirituality and Imagination in Dead Man, Ghost Dog, and The Limits of Control. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-8572-1 (hardcover). ISBN 978-0-8108-8573-8 (ebook). Smith, Gavin (May/June 2009). "Altered States: Jim Jarmusch interview" (http://www.lmlinc.com/fcm/mj09/jarmusch.htm). Film Comment.

External links
Jim Jarmusch (http://www.imdb.com/name/nm0000464/) at the Internet Movie Database Jim Jarmusch (http://www.allrovi.com/name/p95892) at AllRovi Jim Jarmusch (http://archive.sensesofcinema.com/contents/directors/03/jarmusch.html) at the Senses of Cinema Great Directors critical database The Jim Jarmusch Resource Page (http://www.jim-jarmusch.net), curated by Jarmusch scholar Ludvig Hertzberg Limited Control (http://limitedcontrol.posterous.com/), Hertzberg's companion blog It's a sad and beautiful world (http://www.sfgoth.com/~kali/jarmusch.html) Retrieved from "http://en.wikipedia.org/w/index.php?title=Jim_Jarmusch&oldid=563825111" Categories: 1953 births American lm directors American people of Czech descent American people of German descent American people of Irish descent American screenwriters Chevaliers of the Ordre des Arts et des Lettres Columbia University alumni Living people Tisch School of the Arts alumni Medill School of Journalism alumni People from Akron, Ohio People from Manhattan American experimental lmmakers People from Cuyahoga Falls, Ohio This page was last modied on 11 July 2013 at 15:21. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia is a registered trademark of the Wikimedia Foundation, Inc., a non-prot organization.

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