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Talk:Jim Jarmusch/Workspace

< Talk:Jim Jarmusch

Reference workspace

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Vacation

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  • Canby, Vincent (September 20, 1990). "Jim Jarmusch's First Feature at Archives". The New York Times. The New York Times Company. Retrieved May 12, 2009. In later films Mr. Jarmusch demonstrates a singular gift for the kind of narrative that, without the audience's awareness, builds to an inevitable pay-off.
  • Jenkins, Mark (August 31, 2007). "Rediscovering Jarmusch's Minimalist Paradise". Washington Post. Washington Post Company. Retrieved September 27, 2009.

Strangers

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Law

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  • Kempley, Rita (October 03, 1986). "Down by Law". The Washington Post. The Washington Post Company. Retrieved May 12, 2009. {{cite web}}: Check date values in: |date= (help)

Mystery

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  • Rea, Steven (December 24, 1989). "The filming luck of Jim Jarmusch". The Philadelphia Inquirer. Jim Jarmusch finished the script for Mystery Train, a deadpan triptych set on the wrong side of the tracks in Memphis, without ever laying eyes on the place. But the New York filmmaker, a member of the late '70s/early '80s art-punk band Del-Byzanteens, knew his musical history
  • Hinson, Hal (February 02, 1990). "Mystery Train (R)". The Washington Post. The Washington Post Company. Retrieved September 27, 2009. {{cite news}}: Check date values in: |date= (help)

Night

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  • Hinson, Hal (May 29, 1992). "Night on Earth (R)". The Washington Post. Retrieved May 10, 2009.
  • Katzman, Lisa (May 3, 1992). "The Jarmusch touch In Night on Earth: America's coolest director exhudes a new warmth". Chicago Tribune. Retrieved May 7, 2009.
  • "Jim Jarmusch takes off, and the meter is running". San Jose Mercury News. May 29, 1992. ART-HOUSE darling Jim Jarmusch goes almost mainstream with Night on Earth, a quirky little comedy about five cabbies in five cities. If the results play more like a vintage Fellini omnibus than a Taxi Driver melodrama, that's because Jarmusch, even in an expansive mood, remains a rarity among American independents: the film maker who lives to celebrate fringe types drifting among life's incongruities.
  • 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 film Stranger than Paradise. A small triangular silver Triumph motorcycle pin affixed to the lapel is a tip-off to one of Jarmusch's chief 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 films have achieved cult status. For foreigners, perhaps even more so than for Americans, Jarmusch's films 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 five decades of postwar culture. While in content his films 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 film festival, 6,000 people turned out to fill a 4,000-seat theater for a midnight showing of Jarmusch's latest film, 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 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.

Dead

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  • Abbe, Elfrieda (May 17, 1996). "Existentialism on the Lone Prairie". The Milwaukee Journal Sentinel. Jim Jarmusch's existential Western, "Dead Man," may send viewers looking for deeper meaning. Characters with names like William Blake and Nobody beg for interpretation.
    You think that either this is a deadpan Jarmusch put-on or a mystical vision of the American frontier. It's some of both.
  • "Dead Man: A western, and much more". Fort Worth Star-Telegram. May 17, 1996. A treacherous American West confronts Johnny Depp in Dead Man, Jim Jarmusch's searing indictment of the pioneer spirit. The black-and-white production seems almost a meeting of minds between Sam Peckinpah and Jean Cocteau, mingling caustic naturalism with a dreamlike poetic lyricism. Exploring a spiritual sub-terrain that few other westerns have touched, Dead Man borrows puns from The Odyssey of Homer, wealthy villains and hired goons from the Depression era's...
  • Ansen, David (June 3, 1996). "Dead Man". Newsweek. But anyone expecting an anachronistic, hipster sendup of the Old West is in for a surprise. The mordant, deadpan humor that streaks through Dead Man is echt Jarmusch
  • Guthmann, Edward (May 10, 1996). "How the West Was Weird: Jarmusch's Dead Man plunges Depp into cockeyed, corrupt world". San Francisco Chronicle. Retrieved May 13, 2009.
  • Kehr, Dave (May 10, 1996). "Another Dead Man, but this one's riding doomed". The New York Daily News. Retrieved May 13, 2009.
  • "In the margins, Jarmusch creates his art". Contra Costa Times. May 10, 1996. Jim Jarmusch was doing pretty well curtailing his nicotine habit, down to five cigarettes a day instead of five packs. Then Miramax sent him on the road to promote his new movie, Dead Man. He slumps in his chair and moans, "presssss jjjunket." To a man used to the cozy womb of his Lower East Side loft, where crackheads sleep in doorways and Hells Angels test their carburetors on the street, doing time in fancy hotel rooms is like...
  • Carr, Jay (May 10, 1996). "Actors can't bring Dead Man to life". The Boston Globe. Dead Man is a dead movie. Too bad, because it's Jim Jarmusch's most ambitious film yet. And for a while, it's one of his most beautiful and evocative. You start out thinking it might be one of the great revisionist Westerns, depicting as it does the West as a hellscape in black and white. It conjures up period photographs, leaving no doubt about the brutality of the period...
  • "Dead Man disguised as a western, is a beautiful voyage of the soul". Miami Herald. May 10, 1996. Dead Man, director Jim Jarmusch's first movie in four years, is a western, but though it bears the trappings of the genre, it's unlike any western you've ever seen. That was to be expected. But Dead Man is also different from any movie Jarmusch has ever made. All his trademarks are here: The laconic pace, the deadpan humor, the detours into sublimely ridiculous territory.
  • Anthony, Todd (May 09, 1996). "Dead Reckoning". Miami New Times. Retrieved May 13, 2009. {{cite web}}: Check date values in: |date= (help)
  • Eisner, Ken (May 23, 1996). "Dead Man". Straight.com. Retrieved May 15, 2009.
  • Thompson, Bob. "Jim Jarmusch's Dead Man brings new approach to the duster genre". Canoe.ca. Retrieved May 14, 2009.
  • Leydon, Joe (May 23, 1996). "Slow Death". Houston Press. Retrieved May 15, 2009.
  • Jones, Kent (March 22, 1996). "Dead Man". Cineaste. In Jim Jarmusch's Dead Man, there is no American West. There is only a landscape that America the conqueror has emptied of its natives and turned into a capitalist charnel house. The Western is the American cinema's pride and joy as well as its good will ambassador, and the alleged acuity with which it reflects what's going on in American society has been an urgent topic for sociologically minded critics and 'genre theorists.' Even during its fallow periods (early Thirties, late Seventies through Eighties), there has been a persistent desire to track its shifting configurations as though it was an ongoing State of the Union address.
  • Susman, Gary (May 9 – 16, 1996). "Dead Man talking". Boston Phoenix. Phoenix Media/Communications Group. Retrieved September 27, 2009. {{cite web}}: Check date values in: |date= (help)
  • Yabroff, Jennie. "Jim Jarmusch, Rock and Roll Director". Addicted to Noise. 2 (6). Archived from the original on August 3, 2002. Retrieved September 27, 2009.
  • Fulford, Robert (April 4, 2000). "Jim Jarmusch". National Post. Retrieved September 27, 2009.

Horse

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  • "Year of the Horse (unrated): Film/documentary offers no new insight". Miami Herald. November 14, 1997. Neil Young, now 52, cuts a rather depressing sight in his tattered T-shirt, baggy shorts and black socks. Seeing Young in such a getup, it's hard not to think of a dad raiding his son's closet for something to wear. But that's the image director Jim Jarmusch captures in his pointless concert film/documentary, Year of the Horse, a film he shot on Super 8 video during Young's '96 tour of...

Ghost

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  • "Way of the samurai indies". guardian.co.uk. March 24, 2000. Retrieved May 7, 2009.
  • Strauss, Bob (March 17, 2000). "Review: Jarmusch's Ghost Dog just misses the gravy train". Daily News of Los Angeles. 0103170336. With his latest film, Ghost Dog: The Way of the Samurai, formalist wiseacre Jim Jarmusch (Stranger Than Paradise, Dead Man) attempts to blend gangster, hip-hop, cartoon and Japanese action-movie elements into one poker-faced satiric hybrid. It's a fundamentally fun idea that doesn't mesh very well with the filmmaker's detached, cooler-than-thou aesthetic attitude.
  • "Cinematography, Whitaker save Ghost Dog". The Detroit News. March 17, 2000. det7435546. It has been 15 years since Jim Jarmusch first wowed the movie-going world with his sad, zany absurdist comedy Stranger Than Paradise. Ever since, Jarmusch has more or less been going on the goodwill and blind faith that movie engendered. Ghost Dog: The Way of the Samurai, a half-baked fusion of gangster picture and dichotomy-ridden samurai philosophy, tests the loyalty of Jarmusch fans one more time.
  • Johnson, Malcolm (March 24, 2000). "Martial Arts Meets Mob, Hip-Hop: Jarmsuch Jumbles Genres in Gripping Ghost Dog". Hartford Courant. Jim Jarmusch, perhaps the most bizarre and arresting thinker in American independent film, threatens to cross the line into wider currency with Ghost Dog: The Way of the Samurai. He has fashioned a philosophical film noir that combines a European sensibility and wit with hip-hop, martial arts and the Mafia revenge saga.
  • "New movies". News & Record. April 23, 2000. Director Jim Jarmusch takes the overused gangster genre and makes it compellingly unfamiliar.
  • Scott, A. O. (March 3, 2000). "Film review; Passions of Emptiness". The New York Times. The New York Times Company. Retrieved May 12, 2009.
  • Grey, Ian (March 15 - March 21, 2000). "Zen and the Art of Moviemaking". Baltimore City Paper. Archived from the original on April 26, 2004. Retrieved September 27, 2009. {{cite web}}: Check date values in: |date= (help)

Cigarettes

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Flowers

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  • Winters, Laura (July 31, 2005). "Flowers Arranger". The Washington Post. Retrieved May 10, 2009.
  • 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 first-look deal with Fortissimo Films.
    This is the first time Fortissimo has entered a formal long-term relationship with an individual filmmaker, 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 financing to upcoming Jarmusch films, including a contribution to the overheads of his New York-based production banner Exoskeleton.     {{cite news}}: Missing or empty |title= (help)

Control

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ex tempore

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Films

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*Burr, Ty (March 10, 2000). "Ghost Dog: The Way of the Samurai". Entertainment Weekly. Retrieved May 17, 2009. ... minimalist director who found fame with 1984's Stranger Than Paradise ...

  • "Ghost Dog is wildly fun". The Roanoke Times. April 22, 2000. Jim Jarmusch movies are definitely a matter of taste. To some, they're slow-moving and pointless. Then there are those of us who extol their dead-pan sense of humor, utter coolness, bizarre plot turns and affection for everything seedy. These two camps seldom find common ground, so those of us in the movie reviewing trade risk a lot of heat when we rave over a new Jarmusch movie. The non-Jarmuschites out there who haven't acquired the taste tend to think...

*"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 populated by the oddest characters. They do not proceed in straight lines. They're one of a kind. *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 film styles and genres with sharp wit and dark humor

  • Covert, Colin (August 6, 2004). "Movies: Jim Jarmusch". Star Tribune. Oak Street Cinema's two-week showcase of indie filmmaker Jarmusch offers a lot of tedious, in-between moments that perhaps aren't so banal after all. Events in Jarmusch's films seem accidental and random, and his oddball characters often seem like tourists in their own lives. And there's a breezy unconcern with plot. The story crawls around the edges of the film, never quite taking center stage and concluding its unfinished business. Instead there's deadpan humor, running jokes and a proudly uncommercial sense of what moviemaking can be.

Character

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  • "The anti-professional". The Sacramento Bee. July 11, 2004. Famed writer/director Jim Jarmusch, to the surprise of many fans, prefers to call himself an amateur.

    I consider myself an amateur filmmaker, not a professional one, because the root of the word 'amateur' is lover of something, of a form, and 'professional' means you do it for money, for career, and I don't think of myself that way," the filmmaker says.

  • Liebman, Roy (June 1, 2007). "Suarez, Juan A. Jim Jarmusch.". Library Journal. Seemingly as enigmatic as much of his work, the eccentric Jim Jarmusch has made only a handful of films since 1979...
  • Kennedy, Mark (March 19, 2000). "Jim Jarmusch refuses to go along". 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 filmmaker who helped spark a renaissance in independent film, 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 film," Jarmusch says. "Just to be obstinate. No other good reason."

    It's a typical stance from a moviemaker who stubbornly creates films that critics often complain are too long, too meandering, and too often in black and white.

  • McKenna, Kristine (May 5, 1996). "Dead Man Talking". Los Angeles Times. "The first movie that made an impression on me was Thunder Road, a B-movie about moonshiners that starred Robert Mitchum," he recalls. "My family was on vacation in Florida and my mother and sister took me to see it at a drive-in. I was 7 at the time, and it was the first movie I saw that wasn't a children's film. It was a violent story set in a dark, criminal, adult world, and I remember there were lots of speeding, throbbing, hopped-up cars.

    Like all kids, I loved movies, but literature was the most important thing to me then, and it played the biggest role in shaping any understanding or beliefs I have about mysticism and metaphysics," he continues. "My parents were Episcopalian but I never wanted to go to church with them because I didn't like the idea of sitting in a stuffy room wearing a little tie, so I used to hide on Sundays. It wasn't until I was in my mid-teens that I started thinking about theology, and it was literature that led me there. Starting with Dante and Aristides, the English poets and the Romantic poets—there are so many writers I love.
    • Jarmusch, Ann (May 12, 1996). "The Jarmusch clan". 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.
  • Clements, Marcelle (June 3, 1992). "Cinema's Odd Man Out; The Dark Optimism Of Jim Jarmusch". The Washington Post. Director Jim Jarmusch, though, remains a resolute nonmember [of Hollywood]. He insists on making small, absolutely personal, exquisitely ironic films without rendering anything at all unto Caesar.
  • Dancis, Bruce (September 7, 2007). "Two of Jim Jarmusch's best films get `special edition' treatment". Sacramento Bee. One could call Jim Jarmusch one of America's leading independent filmmakers, but he'd hate that description.
    As he explains in a question-and-answer session with fans on the new DVD of his 1991 film Night on Earth, he views labels such as "independent cinema" to be "completely irrelevant." Rather, he sees himself as an "amateur" who makes movies because he loves film, as opposed to a "professional" who does it for the paycheck.     {{cite news}}: |access-date= requires |url= (help)
  • "Night Moves". St. Paul Pioneer Press. May 29, 1992. Jim Jarmusch never reads articles about himself, and he won't talk about his personal life - except to say it's happy. Also, he doesn't like to comment on future projects because he's superstitious about them.

Status

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  • Rosenbaum, Jonathan (March 22, 1996). "A gun up your ass: an interview with Jim Jarmusch". Cineaste. A dozen years ago, when his second feature, Stranger Than Paradise, catapulted him to worldwide fame, Jim Jarmusch seemed at the height of arthouse fashion. Having already known him a little before then, I could tell that the extent to which he suddenly became a figurehead for the American independent cinema bemused him in certain ways. Given the aura of hip, glamorous downtown Manhattan culture that seemed to follow him everywhere, how could it not? I can still recall a New York Times profile a few years back that was so entranced by his image that it suggested that, simply because Jarmusch chose to live in the Bowery, that neighborhood automatically took on magical, ...
  • 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 filmmakers of his generation with such comedic and ironic films as "Stranger Than Paradise," "Down by Law," "Mystery Train," "Night on Earth" and "Dead Man." With his latest film, which he wrote, produced and directed, Jarmusch once again marches to the beat of his own drummer.
  • Rosen, Steven (March 19, 2000). "Change may be in the wind: Jarmusch indie film has mainstream feel". The Denver Post. Jim Jarmusch, one of the most fiercely 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 film as art. And that audience has embraced his Stranger Than Paradise, Down By Law, Mystery Train and Night on Earth.

*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 movie Stranger Than Paradise by Jim Jarmusch is credited with launching the independent film movement. Two years later, Jarmusch introduced American audiences to the wacky Italian actor Roberto Benigni in Down by Law. {{cite episode}}: Cite has empty unknown parameters: |began=, |episodelink=, |city=, |serieslink=, |ended=, and |seriesno= (help)

  • Holleman, Joe (March 24, 2000). "Forest Whitaker personifies cool in Jarmusch's latest offbeat film". St. Louis Post-Dispatch. With the possible exception of John Sayles, there is no independent director who has influenced the modern independent film world more than Jim Jarmusch.
    By combining odd characters, dark comedy and an incredibly hip atmosphere in classic art-house films such as Down by Law and Stranger Than Paradise, Jarmusch has influenced and assisted younger indie directors in finding a modicum of commercial success with less-than-mainstream fare.
    • "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 films, 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,...

*"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 filmmaker's works

*Kimmel, Dan (April 6, 2004). "Jarmusch will journey to Provincetown for nod". Daily Variety. Indie filmmaker Jim Jarmusch will be the sixth recipient of the Filmmaker on the Edge award at the 2004 Provincetown Film Festival, to be held June 16-20 in Provincetown, Mass.

Unsorted

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*Dretzk, Gary (June 30, 1996). "Poets and Indians: Jim Jarmusch goes West to bring Dead Man to life". Chicago Tribune. An idiosyncratic filmmaker 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.

*Hartl, John (March 16, 2000). "New on videotape". The Seattle Times. Retrieved May 11, 2009.

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