A Quote by Jim Jarmusch
The Limits Of Control is not surrealism, but it is an experiment in which expectations are deliberately removed: expectations for narrative form, for action in a film, for certain emotional content. We wanted to remove those things and see if we could still make a film that was a beautiful film experience, with deliberately removing things many people would expect.
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If I fulfill YOUR expectations, how am I going to transform you? I have to DESTROY your expectations. I have to destroy the very mind that creates those expectations. If you come to me, never come with expectations, otherwise you will be disappointed - because I have no obligation to fulfill your expectations in any way. In fact, if I see that there are some expectations, I do things DELIBERATELY to destroy those expectations. That is the price you have to pay to be with me.
I'VE NOTICED, FROM MY EXPERIENCE, IF THE EXTERNAL, EMOTIONAL CONSTRUCTION OF IMAGES IN A FILM ARE BASED ON THE FILMMAKER'S OWN MEMORY, ON THE KINSHIP OF ONE'S PERSONAL EXPERIENCE WITH THE FABRIC OF THE FILM, THEN THE FILM WILL HAVE THE POWER TO AFFECT THOSE WHO SEE IT.
It's one of the most beautiful things in the world, to go off and make a film. At the heart of it, making a film - it's pretend. It's a silly thing to do. But it can be important, and to have that experience with people you love is one of the best things you can do.
If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
I made four comedies, and all did well, but I always wanted to do an action film. When I saw 'Singham,' I thought this was the right film. Many stopped me, saying, 'You are doing so well in comedy, why do you want to make this film?'
With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .
I wanted to create a film that hadn't been created yet. I studied film for many years. The Room is almost 20 years of my work. You see, I understand young people unlike the media. I don't expect people to love The Room 100% but I respect that people enjoy it and that maybe it opens certain doors for them. That's what makes me happy.
It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism. And there's so many expectations involved, too. You're going in to see the latest Martin Scorsese or Stanley Kubrick film, you really have high hopes, and you can't help but find that it's not exactly what you had in your head going in. Until you can watch it again, you can't accept the work for what it intends to be. It takes at least a second viewing.
There's so much judgment geared toward young girls. People just expect so much from girls. Even physically and aesthetically, people expect us to always look right, to have a certain etiquette - to talk a certain way and act a certain way - and to know certain things. It's all different expectations, but there are always expectations.
I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.
Life holds many, many, many mysteries, abstract things we all think about. In a film when things get abstract, some people don't appreciate that and they want to leave the theater. Others love to dream, get lost, try to figure things out. I'm one of those people. I like a film, a story that holds concrete things but also abstractions. So when ideas come along that have those things, I'm falling in love and going to work.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
In any case, I would never make a film that was only one thing. Even if it's my warmest, most romantic film, I still want it to have the more cynical view of things, showing the irony and absurdity of things that we consider normal.
I like to think traditional narrative can be subverted by an experiential narrative, by an immersion in the temporal event of the film and a a play with our expectations of that.
My films typically veer towards the darker side, and I enjoy turning things on the audience. I really enjoy working in genre because people come into the film with certain expectations, and they know the tropes so well that when you turn on those, it can be really shocking. There's a complaisance that comes with watching those films.
I only would say yes to a film, do a film or any project, if I think I would watch it. Whether the audience will like it, not like it, how will they take to the film, these are not things in your control and you shouldn't bother about them.
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