A Quote by Jim Jarmusch
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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My first film I made, "Permanent Vacation," we shot in 1979 for like $12,000, part of which I got a fake car loan for that Amos Poe told me you could do that. And, yeah, I had no idea what I was doing. It was just like, well, we're going to try and do this. Partly because I had been following Amos Poe and Eric Mitchell around for about a year, and I worked on some of Eric's films as a sound recordist and stuff.
I guess, for me, what started me getting real excited about music was the New York punk and new-wave scene. All those bands looked back to the Velvet Underground and the Stooges and the Modern Lovers as well. But that was back when Television were punk, and the Talking Heads were punk.
I like to work with artists from around the world. There are so many new inspiring filmmakers. I had the privilege recently to work with Ethiopian filmmaker Zeresenay Mehari and his wife on the film Difret. They are that unique balance of very thoughtful conscious filmmakers who are also brilliant, original artists.
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
I think, as a filmmaker, my style of filmmaking is very well-suited to 3-D anyway, so it's not like I'm having to change a huge amount of the way I shoot to work in 3-D. I think you could probably dimensionalize some of my movies and they would make very good 3-D films.
I'm very moved and very excited. And it just seems to me here are houses and trees and streets that feel so different from New York. I feel very attached to London; I love it.
I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
New York was the inspiration for The Heart of Rock and Roll and Workin for a Livin. There are a lot of songs in the streets of New York.
I think the best actors in the world are here in New York City. And this city is just so vibrant the energy is just phenomenal. Great crews here. All the technicians, all the artists that work in this industry. I've just been very happy with the body that we've been able to do, especially those films we shot here in New York City.
Kerry James Marshall especially was a huge influence on me in graduate school, as were Wangechi Mutu and Julie Mehretu. These artists are titans. My education was also very much in comic books, so I've been going to comic book events in New York and have met a few artists there.
The New York Dolls did not think of themselves as punk rock. There was no such term at the time. They were just another band in what was called the New York scene.
I didn't do so well at 'Saturday Night Live.' It was a very hard experience for me, for a lot of reasons that have to do with the kind of person I am and the personal issues I had at the time. I was very alone in New York, and the show has a lot of stress related to it.
I've been working with Riccardo Tisci from Givenchy.It's been a long collaboration, and I don't think it's going to stop now. It's very important to me. Riccardo is younger than me, so it's great to have someone new teaching you in everything, not just in fashion. I'm teaching him in French style, what a women's style is, but he's teaching me in all of these different styles of music.I love this new world for me. It's refreshing and nourishing to keep learning about new things.
Music is a huge inspiration to my style. I first got into it when I was 10: the new wave mod scene.
Since I direct youth-oriented films, youngsters follow me and take inspiration from me so it is very important for me to dress up properly. I can't be shabbily dressed.
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