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In Hollywood Westerns even in the Thirties and Forties, history was mythologized to accommodate some kind of moral code. And what really affects me deeply is when you see it taken to the extent where Native Americans become mythical people.

Jim Jarmusch

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Jim Jarmusch
Age: 71
Born: 1953
Born: January 22
Actor
Director
Film Director
Film Editor
Film Producer
Filmmaker
Screenwriter
Writer
Cuyahoga Falls
Ohio
James Roberto Jim Jarmusch
James Roberto Jarmusch
Taken
Affects
Moral
Extent
History
Forty
Become
Native
Forties
Even
Code
Westerns
Deeply
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Thirties
Really
Americans
Accommodate
People

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My films have sort of amateur elements, a naive quality, yet they have some sophisticated quality, sometimes the rhythm is kinda elegant.
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When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.
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In the words of the ancients, one should make his decision within the space of seven breaths. It is a matter of being determined and having the spirit to break through to the other side.
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I think of poets as outlaw visionaries in a way.
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Some people would find just the rhythm of my films alone to be a nightmare they'd probably just fall asleep because they want something quicker. Other people fall into it and it works for them like a dream.
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Film relates to almost every other form of expression, but poetry is a bit abstract in its strength and sometimes even the white spaces on the page are evocative almost as much as where the text is. Certain poets have played with that.
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America was built on an attempted genocide, anyway. Guns were completely necessary.
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If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
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Stupid f***ing white man.
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I'm not an analytical person, so it's not my job to even know what the hell the thing meant. It's not my problem. I'm just supposed to do it. Sometimes, people have explained things to me that I might have been semi-conscious of or not.
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For me, the music is always like the small rowboat I get into at the very beginning of my process.
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I'm very interested in variations.
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I have a real respect for tobacco as a substance, and it just seems very funny how the Western attitude is, Wow, people are addicted to this, think of all the money you can make off it.
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I didn't get the degree because in my last year, for my thesis film I made a feature called Permanent Vacation and they'd given me a scholarship, the Louis B Mayer fellowship and they made a mistake.
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If you have a counterculture band, you put a name on it, you call them beatniks, and you can sell something - books or bebop. Or you label them as hippies and you can sell tie-dyed T-shirts.
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The beauty of life is in small details, not in big events.
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Music just gives me so much energy and inspiration. Music and literature in a way probably influence me more than cinema does because they're different forms and yet related. I probably know as much about music history as I do about the history of cinema.
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A lot of poets too live on the margins of social acceptance, they certainly aren't in it for the money. William Blake - only his first book was legitimately published.
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The filmmaker Amos Poe was a huge inspiration for me by making guerrilla-style punk films on the streets of New York and - well, it's just a lot of painters and artists and filmmakers all within that scene, and it's very, very important to me.
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I know from the past, critics often say my films don't have any plot, that kind of thing. I'm used to being told, Yeah, it's slow and has no plot.
Jim Jarmusch