Jim Jarmusch - Wikipedia, The Free Encyclopedia

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Jim Jarmusch

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

1979present

Partner(s) Sara Driver

Jim JarmuschFrom Wikipedia, the free encyclopedia

James R. "Jim" Jarmusch (/drm/;[2] born

January 22, 1953) is an American independent

film director, screenwriter, actor, producer, editorand composer.[3] Jarmusch has consistently been a

major proponent of independent cinema, since the

1980s.[4]

Contents

1 Early life

1.1 New York

2 Career

2.1 First features and rise to fame:

Vacation and Paradise

2.2Down by Law,Mystery Train,

andNight 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 filmmaker

3.1 Style and characters3.2 Themes

3.3 Impact and legacy

4 Personal life

5 Awards

6 Selected filmography

7 Discography

8 See also

9 Footnotes

10 References

11 Further reading12 External links

Early life

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 film and theatre for theAkron

Beacon Journal before marrying his father, a businessman of Czech

and German descent who worked for the B.F. Goodrich Company.

The key, I think, to Jim, is

that he went gray when he

was 15 ... As a result, he

always felt like an

Jim Jarmusch - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Jim_Jarmusch

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Tom Waits, as quoted in TheNew York Times, 2005[5]

[1][6][8] 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 asAttack of the Crab Monsters

and Creature From the Black Lagoon while she ran errands.[9][10] The

first adult film he recalls having seen was the 1958 cult classic

Thunder Road(starring Robert Mitchum) the violence and darkness of

which left an impression on the seven-year-old Jarmusch.[11] Another

B-movie influence from his childhood was Ghoulardi, an eccentric

Cleveland television show which featured horror films.[10]

Despite his enthusiasm for film, 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 WilliamBurroughs, 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 films would on occasion feature underground films 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]

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 "semi-

narrative abstract pieces",[1] and edited the undergraduate literary journal The Columbia Review.[7][15]

During his final year at Columbia, Jarmusch moved to Paris, for what was initially a summersemester 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 films by many of the

good Japanese directors, like Imamura, Ozu, Mizoguchi. Also, films by European

directors like Bresson and Dreyer, and even American films, like the retrospective of

Samuel Fullers films, 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

immigrant in the teenage

world. He's been an

immigrant a benign,

fascinated foreigner ever

since. And all his films are

about that.


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Van Gelder ofThe 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 hiscomplete lack of experience in filmmaking, his submission of a collection of still photographs and an

essay about film 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 final year at New York University, Jarmusch worked as an assistant to the renownedfilm 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 first 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 onLightning 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 fight with cancer.[7] A few days afterwards, having been

encouraged by Ray and New York underground filmmaker Amos Poe and using scholarship funds

iven by the Louis B. Mayer Foundation to pay for his school tuition,[1][18] Jarmusch started work

on a film for his final 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 andParadise

Jarmusch's final year university project was completed in 1980 as Permanent Vacation, his first

feature film. 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 film.[19] The 75 minute quasi-autobiographical feature follows an adolescent

drifter (Chris Parker) as he wanders around downtown Manhattan.[20][21] The film was not released

theatrically, and did not attract the sort of adulation from critics that greeted his later work. The

Washington Poststaff writer Hal Hinson would disparagingly comment in an aside during a review

of Jarmusch'sMystery Train (1989) that in the director's debut, "the only talent he demonstrated was

for collecting egregiously untalented actors".[22] The bleak and unrefined Permanent Vacation is

nevertheless one of the director's most personal films, 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 first major film, 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 film

broke many conventions of traditional Hollywood filmmaking.[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 film.[29]

own by Law,Mystery Train, andNight on Earth

In 1986, Jarmusch wrote and directedDown 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 first collaboration with renowned Dutch

cinematographer Robby Mller, who had been known for his work with Wenders.[31]

His next two films each experimented with parallel narratives:Mystery Train (1989) told three

successive stories set on the same night in and around a small Memphis hotel, andNight on Earth

(1991)[32] involved five cab drivers and their passengers on rides in five 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 wroteNight on Earth in about a week, out of frustration at the collapse of the

production of another film 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 influential representative of the trend of the

American road movie.[35] Not intended to appeal to mainstream filmgoers, these early Jarmusch

films were embraced by art house audiences,[36]

gaining a small but dedicated American followingand cult status in Europe and Japan.[37] Each of the four films had their premiere at the eminent and

discerning New York Film Festival, whileMystery 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 ofMystery

Train andNight On Earth, the director was increasingly charged with repetitiveness and

risk-aversion.[13][27]

A film appearance in 1989 as a used car dealer in the cult comedy Leningrad Cowboys Go America

further solidified 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 releasedDead Man, a period film set in the 19th century American West starring

Johnny Depp and Gary Farmer. Produced at a cost of almost $9 million with a high-profile cast

including John Hurt, Gabriel Byrne and, in his final role, Robert Mitchum,[38] the film marked a

significant 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 film 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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Jarmusch (left) and Isaach de

Bankol (right) promoting The Limits

of Control at the San Sebastian

International Film Festival in

September 2009.

subsequently filmed 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 films

made by a Caucasian that presents an authentic NativeAmerican 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 film community, he achieved

mainstream renown with his far-East philosophical crime film

Ghost Dog: The Way of the Samurai, shot in Jersey City and

starring Forest Whitaker as a young inner-city man who hasfound purpose for his life by unyieldingly conforming it to

theHagakure, an 18th-century philosophy text and training

manual for samurai, becoming, as directed, a terrifyingly

deadly hit-man for a local mob boss to whom he may owe a

debt, and who then betrays him. The soundtrack was supplied

by RZA of the Wu-Tang Clan. The film was unique among

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 film is also

considered to be an homage toLe Samourai, a 1967 French New Wave film 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 five-year gap followed the release ofGhost 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 ofCoffee and Cigarettes, a collection of eleven short films of characters sitting

around drinking coffee and smoking cigarettes that had been filmed by Jarmusch over the course of

the previous two decades. The first 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 andCinqu 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 withBroken 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 ofBroken Flowers, Jarmusch signed a deal with Fortissimo Films,

whereby the distributor would fund and have "first-look" rights to the director's future films, and

cover some of the overhead costs of his production company, Exoskeleton.[42]

Jarmusch's latest film, The Limits of Control, opened in the United States on May 22, 2009. A sparse,meditative crime film set in Spain, it starred Isaach de Bankol as a lone assassin with a secretive


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Nothing is original.Steal from anywhere

that resonates with

inspiration or fuels

your imagination.

Devour old films,

new films, 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

mission.[43] A behind-the-scenes documentary,Behind Jim Jarmusch, was filmed over three days on

the set of the film in Seville by director La Rinaldi.[44]

In October 2009, Jarmusch appeared as himself in an episode of the HBO seriesBored 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 anew film, Only Lovers Left Alive, with Tilda Swinton, Tom Hiddleston, Mia Wasikowska, Anton

Yelchin, and John Hurt.[46] The film has been selected to compete for the Palme d'Or at the 2013

Cannes Film Festival.[47]

As a filmmaker

Style and characters

Jarmusch has been characterized as a minimalist filmmaker, andhis idiosyncratic films as unhurried.[24][49] His films 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 films either released or begun around the early

nineties:Mystery Train,Night on Earth, and Coffee andCigarettes. Jarmusch's approach to filmmakingin the words

ofThe Salt Lake Tribune critic Sean P. Meansinvolves

"blending film 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 films 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 films 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

film with that of Hollywood.[1] His films have often included


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Jean-Luc Godard

said: Its not where

you take things from

its where you take

them to.

Jim Jarmusch, The Golden Rules ofFilming

[48]

Jarmusch at the 2005 Cannes Film

Festival.

foreign actors and

characters, and (at times

substantial) non-English

dialogue. In his two

later-nineties films, he

dwelt on different

cultures' experiences ofviolence, and on textual

appropriations between

cultures: a wandering Native American's love of William

Blake, a black hit-man's passionate devotion to theHagakure.

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 thatis 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 films, while Joe Strummer and Screamin'

Jay Hawkins appear inMystery Train and GZA, Jack and

Meg White feature in Coffee and Cigarettes. Hawkins' song

"I Put a Spell on You" was central to the plot ofStranger

than Paradise, whileMystery 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 films 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 film movement with Stranger

Than Paradise.

[30]

Critic Lynn Hirschberg declared Stranger than Paradise in a 2005 profile of thedirector for The New York Times to have "permanently upended the idea of independent film as an

intrinsically inaccessible avant-garde form".[5] The success of the film 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

eneration's most prominent and influential independent filmmakers.[57][58] In a 1989 review of his

work, Vincent Canby ofThe New York Times called Jarmusch "the most adventurous and arresting

film 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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Jarmusch at punk club CBGB in New

York City on November 30, 2003.

International Film Festival.[59] A retrospective of the director's films 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, filmmaker Sara Driver, worked closely

with him on his early films, 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 first

installment ofCoffee and Cigarettes, though he remained a

smoker.[63]

In the early 1980s, Jarmusch was part of a revolving lineup of

musicians in Robin Crutchfield's Dark Day project,[64] and

later became the keyboardist and one of two vocalists for The

Del-Byzanteens,[7] a No Wave band whose sole LPLies 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 influential 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 films.[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 film 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 film Broken Flowers.

Selected filmography


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Main article: Jim Jarmusch filmography

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 alsoNo Wave Cinema

Footnotes

âbcdefg

hij

Hertzberg, Ludvig. "Biographyfrom Current Biography Yearbook 1990(abridged)" (http://www.jim-jarmusch.net/bio/).The Jim Jarmusch Resource Page. Retrieved

May 20, 2009.

1.

^ Hagen, Ray. "Wolfner Library: You Say ItHow?" (http://www.sos.mo.gov/wolfner/SayHow/?id=j). Missouri Secretary of Stateweb site. Retrieved May 7, 2009.

2.

^ abc Lim, Dennis (April 23, 2009). "ADirector Content to Wander On"(http://www.nytimes.com/2009/04/26/movies/26lim.html?_r=1&pagewanted=all). The NewYork Times. The New York Times Company.Retrieved April 25, 2009.

3.

^ abcdefghijSurez 2007, pp. 6114.

^ abcdHirschberg, Lynn (July 31, 2005). "TheLast of the Indies" (http://www.nytimes.com/2005/07/31/magazine/31JARMUSCH.html?pagewanted=print).The

New York Times (The New York TimesCompany). Retrieved April 27, 2009.

5.

âbcd

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.

6.

âbcdefg

hij

Hertzberg 2001, pp. xi xii7.

^ Jarmusch, Ann (May 12, 1996). "TheJarmusch clan" (http://www.jim-jarmusch.net

8.

/films/dead_man/read_about_it/dead_man_talking_by_kristin.html).Los

Angeles Times. Retrieved May 13, 2009. "Wegrew up near, not in, Akron, Ohio, in an idyllicarea that seemed eons away from the stinky,

grimy "Rubber Capital of the World." And ourfather worked for B.F. Goodrich, notGoodyear."

^ abcde Hattenstone, Simon (November 13,2004). "Interview: Simon Hattenstone meetsJim Jarmusch" (http://www.guardian.co.uk/film/2004/nov/13/features.weekend). TheGuardian. Retrieved May 2, 2009.

9.

^ ab Jarrell, Joe (May 9, 2004). "Jim Jarmusch"(http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/05/09/PKG676DSNM1.DTL&type=printable).

San Francisco Chronicle. Retrieved April 27,2009.

10.

^ abc McKenna, Kristine (May 5, 1996)."Dead Man Talking" (http://www.jim-

jarmusch.net/films/dead_man/read_about_it/dead_man_talking_by_kristin.html).Los

Angeles Times.

11.

âbc

Schoemer, Karen (April 30, 1992). "OnThe Lower East Side With: Jim Jarmusch; Filmas Life, and Vice Versa"(http://www.nytimes.com/1992/04/30/garden/on-the-lower-east-side-with-jim-jarmusch-

film-as-life-and-vice-versa.html?sec=&spon=&pagewanted=all). The New York Times (The

12.


9 sur 14 27/07/13 10:27


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New York Times Company). Retrieved April27, 2009.

âbcdefg

hiCrow, Jonathan. "Jim Jarmusch

> Biography" (http://www.allmovie.com/artist/jim-jarmusch-95892/bio). allmovie. All MediaGuide. Retrieved October 1, 2009.

13.

^ abc 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.

14.

^ ab Auster, Paul (September 7, 2007). "Nighton Earth: New York Jim Jarmusch, Poet"(http://www.criterion.com/current/posts/571).The Criterion Collection. Retrieved May 10,2009.

15.

^ Olsen, Mark (April 26, 2009). "Jim Jarmuschon 'The Limits of Control'"(http://www.latimes.com/entertainment/news/la-ca-indiefocus26-2009apr26,0,1638552.story).

Los Angeles Times. Retrieved May 7, 2009.

16.

âb

Kennedy, Mark (March 19, 2000). "JimJarmusch 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-WanKenobi spar with Darth Vader, or Rhett Butlerpop off to Scarlett.Jim Jarmusch, the art-house filmmaker whohelped spark a renaissance in independent film,refuses to actually sit through some of theclassics of American cinema."I pledge I will go to my grave having neverseen Gone with the Windor any Star Warsfilm," Jarmusch says. "Just to be obstinate. Noother good reason."It's a typical stance from a moviemaker whostubbornly creates films that critics often

complain are too long, too meandering, and toooften in black and white."

17.

^ Surez 2007, p. 2118.^ "Jim Jarmusch" (http://www.guardian.co.uk/film/1999/nov/15/guardianinterviewsatbfisouthbank3). TheGuardian. November 15, 1999. Retrieved May12, 2009.

19.

^ Levy, Shawn (April 2000). "Postcards fromMars" (http://www.jim-jarmusch.net/biblio/online/shawn_levy_postcards_from_m.html).Sight & Sound10 (4): 2224. Retrieved

October 1, 2009.

20.

^ ab Canby, Vincent (September 20, 1990).21.

"Jim Jarmusch's First Feature at Archives"(http://www.nytimes.com/1990/09/20/movies/jim-jarmusch-s-first-feature-at-archives.html).The New York Times (The New York TimesCompany). Retrieved May 12, 2009.^ Hinson, Hal (February 2, 1990). "MysteryTrain (R)" (http://www.washingtonpost.com

/wp-srv/style/longterm/movies/videos/mysterytrainrhinson_a0a8cc.htm). TheWashington Post(The Washington PostCompany). Retrieved September 27, 2009.

22.

^ Jenkins, Mark (August 31, 2007)."Rediscovering Jarmusch's MinimalistParadise" (http://www.washingtonpost.com/wp-dyn/content/article/2007/08/30/AR2007083000633_pf.html). WashingtonPost(Washington Post Company). RetrievedSeptember 27, 2009.

23.

âb

Burr, Ty (March 10, 2000). "Ghost Dog:The Way of the Samurai" (http://www.ew.com/ew/article/0,,275620,00.html).EntertainmentWeekly. Retrieved May 17, 2009. "... minimalistdirector who found fame with 1984's StrangerThan Paradise ..."

24.

^ Sterritt, David (February 21, 1985). "On thefringes of film: writer-director Jim Jarmusch".Christian Science Monitor. "Jim Jarmuschbrought in "Stranger Than Paradise" for about$125,000. That's not a budget in today's movieworld; it's lunch money."

25.

^ Tobias, Scott (May 19, 2004). "JimJarmusch" (http://www.avclub.com/articles

/jim-jarmusch,13869/). The A.V. Club.Retrieved May 3, 2009.

26.

^ abc Tasker, Yvonne (2002). "Stranger thanFiction: The rise and fall of Jim Jarmusch".Fifty Contemporary Filmmakers. RoutledgeKey Guides. New York: Routledge.pp. 177178. ISBN 0-415-18974-8.OCLC 47764371 (//www.worldcat.org/oclc/47764371)

27.

^ Hartl, John (March 16, 2000). "New onvideotape"(http://community.seattletimes.nwsource.com

/archive/?date=20000316&slug=4010335). TheSeattle Times. Retrieved May 11, 2009.

28.

^ "Stranger Than Paradise (1984)"(http://www.criterion.com/films/252). TheCriterion Collection. Retrieved May 2, 2009.

29.

âb

Host: Bob Edwards (March 10, 2000)."Profile: Jim Jarmusch's new film, Ghost Dog:The Way of the Samurai".Morning Edition.National Public Radio. "The 1984 movieStranger Than Paradise by Jim Jarmusch iscredited with launching the independent filmmovement. Two years later, Jarmusch

introduced American audiences to the wackyItalian actor Roberto Benigni inDown by Law."

30.


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^ Kempley, Rita (October 3, 1986). "Down byLaw" (http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/downbylawrkempley_a0caf0.htm). TheWashington Post. The Washington PostCompany. Retrieved May 12, 2009.

31.

^ 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 inEnglish, just in Spanish

32.

^ abcdCanby, Vincent (November 12, 1989)."The Giddy Minimalism Of Jim Jarmusch"(http://www.nytimes.com/1989/11/12/movies/film-view-the-giddy-minimalism-of-jim-

jarmusch.html?pagewanted=all). The New YorkTimes (The New York Times Company).Retrieved April 27, 2009.

33.

^ "Jim Jarmusch part two"(http://www.guardian.co.uk/film/1999/nov/15/guardianinterviewsatbfisouthbank1). TheGuardian. November 15, 1999. Retrieved May12, 2009.

34.

^ Mazierska, Ewa; Laura Rascaroli (2006).Crossing New Europe. Wallflower Press. p. 3.ISBN 1-904764-67-3. OCLC 63137371(//www.worldcat.org/oclc/63137371). "Inreverse, North American directors started toabsorb the influence of European road cinema,usually mediated by the 'American' films byWim Wenders and Werner Herzog (Stroszek,

1977). The most influential representative ofthis trend in recent times is Jim Jarmusch,starting with his Stranger than Paradise from1984."

35.

^ Rosen, Steven (March 19, 2000). "Changemay be in the wind: Jarmusch indie film hasmainstream feel". The Denver Post. "JimJarmusch, one of the most fiercely independentof current American writer-directors, has nevercared if his movies gain mass acceptance.He's been content to appeal to the devoted iflimited audience that responds to film as art.

And that audience has embraced his StrangerThan Paradise,Down By Law,Mystery TrainandNight on Earth."

36.

^ Katzman, Lisa (May 3, 1992). "The Jarmuschtouch inNight on Earth, America's coolestdirector exhudes a new warmth". ChicagoTribune. "Walking into the cafe where we'veagreed to meet on a hot spring day, director JimJarmusch takes off his signature black leather

jacket. It's the type worn by blues musicians,'50s greasers and the downbeat bohemian oddcouple Willie and Eddie of Jarmusch's secondfilm Stranger than Paradise. A small triangular

silver Triumph motorcycle pin affixed to thelapel is a tip-off to one of Jarmusch's chief

37.

recreational passions. Among Jarmuschcognoscenti, the shock of thick, almost whitehair that rises from his head in a handsomelyshaped post-punk spike is another unmistakablesignature.In the eight years since Stranger than Paradisebecame an arthouse hit, Jarmusch has garnered

a loyal but limited American audience. Yetabroad, particularly in Japan and Europe, bothJarmusch and his films have achieved cultstatus. For foreigners, perhaps even more sothan for Americans, Jarmusch's films are thesine qua non of post-modern American hipdom.They articulate a distinctly funky, low-tech,outcast vision of American society that in bothethos and esthetics draws upon and amusinglyblends the past five decades of postwar culture.While in content his films quietly defyHollywood's myths of American progress andprosperity, in form (due to their stylistic

simplicity and small budgets) they are a retortto the movie industry's bloated excess.Recently, at the Yugoslavian film festival, 6,000people turned out to fill a 4,000-seat theater fora midnight showing of Jarmusch's latest film,

Night on Earth in wartorn Belgrade. In the pastseveral months a traveling "Jim Jarmusch FilmFestival" was held in major cities throughoutPoland. Czechoslavakia [sic] will soon holdsuch a festival. And in Japan, where the directoris a national celebrity, he is offered huge sumsto appear in and direct commercials. To date he

has turned down all offers."^ Susman, Gary (May 916, 1996). "Dead Mantalking" (http://www.bostonphoenix.com/alt1/archive/movies/reviews/05-09-96/DEAD_BAR.html).Boston Phoenix. PhoenixMedia/Communications Group. RetrievedSeptember 27, 2009.

38.

^abcde

Yabroff, Jennie. "Jim Jarmusch, Rockand Roll Director" (http://web.archive.org/web/20020803221149/http://www.addict.com/issues/2.06/html/hifi/Features/Jarmusch/index.html).Addicted to Noise2 (6). Archived

from the original (http://www.addict.com/issues/2.06/html/hifi/Features/Jarmusch/index.html)on August 3, 2002. Retrieved September 27,2009.

39.

^ Hall, Mary Katherine (Winter 2000). "NowYou Are a Killer of White Men: Jim Jarmusch's

Dead Man and Traditions of Revisionism in theWestern".Journal of Film and Video52 (4):314.

40.

^ 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,"

41.


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which won the Cannes Film Festival'sshort-film Palme D'Or, offers the deliciousspectacle of [Iggy Pop] and [Tom Waits]meeting in some remote dumpy bar, with Iggyplaying the shaggy, eager-to-please puppywhile the edgy Waits finds ways to takeconstant umbrage."

^ Dawtrey, Adam (May 17, 2005).DailyVariety (Reed Business Information). "JimJarmusch, whose latest pic "Broken Flowers"premieres in the Cannes competition today, hasstruck a multi-year first-look deal withFortissimo Films.This is the first time Fortissimo has entered aformal long-term relationship with anindividual filmmaker, and marks a major stepforward by the Hong Kong andAmsterdam-based sales company in its drivefor English-language movies.Fortissimo has agreed to provide financing to

upcoming Jarmusch films, including acontribution to the overheads of his NewYork-based production banner Exoskeleton."

42.

^ab

Tobias, Scott (May 8, 2009). "JimJarmusch" (http://www.avclub.com/articles/jim-jarmusch,27753/?utm_source=channel_features). The Onion.Retrieved September 23, 2009.

43.

^ Hertzberg, Ludwig (June 24, 2009). "BehindJim Jarmusch"(http://limitedcontrol.posterous.com/behind-

jim-jarmusch).Limited Control. Posterous.

Retrieved August 15, 2009.

44.

^ Breihan, Tom (August 20, 2010). "FilmmakerJim Jarmusch Talks ATP" (http://pitchfork.com/news/39726-filmmaker-jim-jarmusch-talks-atp/). Pitchfork.com. Retrieved August 20,2010.

45.

^ ab Roxborough, Scott (January 30, 2012)."Tilda Swinton, John Hurt Join Jim Jarmusch'sVampire Film 'Only Lovers Left Alive'"(http://www.hollywoodreporter.com/news/tilda-swinton-john-hurt-Jim-jarmusch-only-lovers-left-alive-285758). The Hollywood Reporter.

46.

^ "2013 Official Selection"(http://www.festival-cannes.fr/en/article/59652.html). Cannes. 18 April 2013. Retrieved18 April 2013.

47.

^ Jarmusch, Jim (October 20, 2005). "JimJarmuschs Golden Rules"(http://www.moviemaker.com/directing/article/jim_jarmusch_2972/).MovieMaker Magazine.MovieMaker Publishing. Retrieved April 26,2009.

48.

^ ab "Director Jim Jarmusch delivers offbeatmob movie Ghost Dog". The News Tribune.

April 21, 2000. "Jim Jarmusch makes moviesunlike anyone else's. They're unhurried. They're

49.

populated by the oddest characters. They do notproceed in straight lines. They're one of a kind."^ Travers, Peter (April 11, 2001). "Night onEarth : Review" (http://www.rollingstone.com/reviews/movie/5948043/review/5948044/night_on_earth).Rolling Stone. Retrieved May7, 2009.

50.

^ http://bombsite.com/issues/2/articles/4651. ^ Means, Sean P. (April 21, 2000). "A SamuraiWarrior Haunts New Jersey in Ghost Dog". TheSalt Lake Tribune. "Jim Jarmusch has alwaysapplied the Cuisinart approach to moviemaking,blending film styles and genres with sharp witand dark humor"

52.

^ Klein, Joshua (March 15, 2000). "JimJarmusch" (http://www.avclub.com/articles/jim-jarmusch,13646/). The A.V. Club.Retrieved May 5, 2009.

53.

^ Hertzberg 2001, p. 9254.^ Dretzk, Gary (June 30, 1996). "Poets and

Indians: Jim Jarmusch goes West to bringDeadMan to life". Chicago Tribune. "Anidiosyncratic filmmaker whose hip, ironic stylehas wowed the art-house crowd since thequirky Stranger Than Paradise was released in1984, Jarmusch embodies urban cool anduncompromising auteurism. His pictures are atonce funny, gritty, highly challenging andundeniably American in their multiculturalvision."

55.

^ Rosenbaum, Jonathan (March 22, 1996). "Agun up your ass: an interview with Jim

Jarmusch" (http://www.sfgoth.com/~kali/onsite10.html). Cineaste. Retrieved September26, 2009.

56.

^ Blair, Iain (March 2, 2000). "From writing todirecting, Jarmusch is in charge". ChicagoTribune. "Over the last decade [Jim] Jarmuschhas established himself as one of the leadingindependent filmmakers of his generation withsuch comedic and ironic films as "StrangerThan Paradise," "Down by Law," "MysteryTrain," "Night on Earth" and "Dead Man." Withhis latest film, which he wrote, produced anddirected, Jarmusch once again marches to thebeat of his own drummer."

57.

^ Holleman, Joe (March 24, 2000). "ForestWhitaker personifies cool in Jarmusch's latestoffbeat film". St. Louis Post-Dispatch. "Withthe possible exception of John Sayles, there isno independent director who has influenced themodern independent film world more than JimJarmusch.By combining odd characters, dark comedy andan incredibly hip atmosphere in classicart-house films such asDown by Law andStranger Than Paradise, Jarmusch has

influenced and assisted younger indie directorsin finding a modicum of commercial success

58.


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with less-than-mainstream fare."^ Kimmel, Dan (April 6, 2004). "Jarmusch will

journey to Provincetown for nod".DailyVariety. "Indie filmmaker Jim Jarmusch will bethe sixth recipient of the Filmmaker on theEdge award at the 2004 Provincetown FilmFestival, to be held June 1620 in

Provincetown, Mass."

59.

^ "Now at AFI: The World of Jim Jarmusch".The Washington Post. August 5, 2005. "Thismonth at its Silver Theatre (8633 ColesvilleRd., Silver Spring), the American Film Instituteis presenting "The Sad and Beautiful World ofJim Jarmusch," a retrospective of most of thefilmmaker's works"

60.

^ "Connect the dots". St. Paul Pioneer Press.February 14, 1994. "Jim Jarmusch has big hair

Lyle Lovett big. It suits the man whosetoo-hip-to-live reputation has made him theKing of Counterculture Film and whose work is

featured in a Walker Art Center retrospectivethis month. Jarmusch's disjointed, oddly comicmovies and short films, which include StrangerThan Paradise andNight on Earth, haveestablished him as a master of the minutelyobserved detail. In his little-seen debut,..."

61.

^ Jarmusch, Jim (August 16, 2005) (audio).Fresh Air (http://www.npr.org/templates/story/story.php?storyId=4801740). Interview withTerry Gross. National Public Radio. WHYY.http://www.npr.org/templates/story/story.php?storyId=4801740. Retrieved May 3,

2009.

62.

^ Torday, Daniel (June 1, 2005). "Q&A with63.

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.

64.

^ Fennessy, Sean. "Pitchfork: Various Artists:Dreddy Krueger Presents...Think DifferentlyMusic: Wu-Tang Meets the Indie Culture"(http://pitchfork.com/reviews/albums/8748-dreddy-krueger-presentsthink-differently-music-wu-tang-meets-the-indie-culture/).Pitchfork Media. Retrieved May 2, 2009.

65.

^ 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.

66.

^ Hertzberg 2001, p. 18767.^ Masters, Marc (February 22, 2012). "JimJarmusch: Concerning the Entrance IntoEternity" (http://pitchfork.com/reviews/albums/16306-concerning-the-entrance-into-eternity/).Pitchfork Media.

68.

^ Kivel, Adam (November 15, 2012). "AlbumReview: Jozef Van Wissem & Jim Jarmusch The Mystery of Heaven"(http://consequenceofsound.net/2012/11/album-review-jozef-van-wissem-jim-jarmusch-the-mystery-of-heaven/). Consequence of

Sound.

69.

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 / 978-84-7642-776-7Rdenas, Gabri (2009), Jarmusch y Carver: Se ha roto el frigorfico 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 inRevista 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, andThe 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.filmlinc.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 AllRoviJim 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"

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Tisch School of the Arts alumni Medill School of Journalism alumni People from Akron, Ohio

People from Manhattan American experimental filmmakers People from Cuyahoga Falls, Ohio

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