Jim Jarmusch Serralves Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes Coffee and Cigarettes
Jim Jarmusch BIOGRAPHY
Jim Jarmusch is best known as one of America’s most celebrated independent filmmakers, but he’s also a musician who has used music and other musicians as key components in his films. Jarmusch was born in Akron, Ohio on January 22, 1952, where his father worked for a tire company and his mother reviewed movies for the local newspaper. Jarmusch grew up with a keen interest in music, film, and literature, and after graduating from high school in 1971, he briefly studied journalism at Northwestern University in Chicago before transferring to Columbia University in New York City. Jarmusch’s emphasis at Columbia was in poetry, but during a semester abroad in Paris, he became an avid fan of the eclectic programming at the celebrated repertory cinema the Cinémathèque Française, which awakened his passion for filmmaking. In 1976, Jarmusch returned to New York and was accepted into New York University’s Tisch School of the Arts, where he studied filmmaking. Jarmusch dove into New York’s burgeoning underground music scene; he was a regular patron at CBGB, and was briefly a member of Robin Crutchfield’s no wave group Dark Days. Jarmusch also spent several years playing keyboards and electronics with the band the Del-Byzanteens, who issued several singles and a 1982 album, Lies to Live By. During his time in the Del-Byzanteens, Jarmusch completed his first feature film, 1981’s Permanent Vacation, financed with funds “borrowed” from a tuition scholarship; the film, submitted as his thesis project, was rejected by his instructors, and never received a proper release in the United States. Undaunted, Jarmusch began work on a second feature with the support of Wim Wenders (who gave him some film stock), and Stranger Than Paradise proved to be Jarmusch’s international breakthrough, an art house hit and cult favorite that starred fellow New York musicians John Lurie (of the Lounge Lizards) and Richard Edson (who had played drums with Sonic Youth for a spell), while Screamin’ Jay Hawkins’ “I Put a Spell on You” dominated the film’s musical score. Casting musicians in key roles would become one of Jarmusch’s trademarks over the years; Lurie and Tom Waits starred in 1986’s Down by Law, 1989’s Mystery Train included Joe Strummer, Screamin’ Jay Hawkins, and Rufus Thomas (as well as the ghost of Elvis Presley), Iggy Pop appeared in 1995’s Dead Man (which featured an original score from Neil Young), and RZA of the Wu-Tang Clan scored 1999’s Ghost Dog: The Way of the Samurai as well as playing a samurai. Jarmusch also directed a 1997 concert film starring Neil Young & Crazy Horse, Year of the Horse, and has made music videos for Talking Heads and Tom Waits. Beginning in 1986, Jarmusch directed a series of short subjects dominated by conversations over coffee and cigarettes; they were compiled into a 2003 feature fittingly called Coffee and Cigarettes, which included appearances by Iggy Pop and Tom Waits, Jack White and Meg White, and RZA and GZA (the latter chatting with Bill Murray). In 2009, Jarmusch returned to active music-making by forming the group Bad Rabbit, whose work he described as “slow-motion psychedelic rock & roll.” Also featuring Carter Logan and Shane Stoneback, Bad Rabbit wrote and recorded material for Jarmusch’s film The Limits of Control, and highlights from their score were released on an EP. In 2010, Jarmusch announced that Bad Rabbit had changed their name to Sqürl and were recording new material; that same year, Jarmusch was invited to help curate the All Tomorrow’s Parties New York weekender, with the bill including Kurt Vile, Boris, Fucked Up, DJ Kool Herc, Wooden Shjips, Raekwon, the Black Angels, and Vivian Girls. In 2012, Jarmusch released a pair of albums of improvisational material with experimental lute player Jozef Van Wissem, The Mystery of Heaven and Concerning the Entry into Eternity. Between his musical projects and directing a new feature film starring Tilda Swinton, Jarmusch was also said to be working on an opera about the life of Nikola Tesla with composer Phil Klein, and compiling footage for a documentary on the Stooges.
FILMOGRAPHY 1980 1984 1986 1989 1991 1995 1999 2003 2005 2009 2012
Permanent Vacation Stranger Than Paradise Down by Law Mystery Train Night on Earth Dead Man Ghost Dog: The Way of the Samurai Coffee and Cigarettes Broken Flowers The Limits of Control Only Lovers Left Alive
“MY GOLDEN RULES” Rule #1: There are no rules. There are as many ways to make a film as there are potential filmmakers. It’s an open form. Anyway, I would personally never presume to tell anyone else what to do or how to do anything. To me that’s like telling someone else what their religious beliefs should be. Fuck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself. One should make one’s own “notes” because there is no one way to do anything. If anyone tells you there is only one way, their way, get as far away from them as possible, both physically and philosophically.
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary. Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve t not there to serve the production. the world of filmmaking this is alm backwards. The film is not being m budget, the schedule, or the resum volved. Filmmakers who don’t und be hung from their ankles and ask appears to be upside down.
the film. The film is . Unfortunately, in most universally made to serve the mes of those inderstand this should ked why the sky
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics...).
Rule #5: 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 don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
COFFEE AND CIGARRETTES Tom: The beauty of quitting is, now that I’ve quit, I can have one, ‘cause I’ve quit.
Tom: Well... we could go to Taco Bell if that’s more your style. Iggy: You callin’ me a Taco Bell kind of guy?
Alfred: He’s a very committed environmentalist. Steve: Spike Jonze is a tree hugger? Jesus, I never would’ve had him down as that. Alfred: Well... I think he prefers the term “leaf people.”
Iggy: Cigarettes and coffee, man, that’s a combination.
GZA: Bill Groundhog-Day, Ghostbustin’-ass Murray!
Shelly: It’s just... funny, don’t yah think, that when you can’t afford something, it’s like *really expensive* but then when you can afford it, it’s like, free? It’s kinda backwards, don’t yah think? Cate: Yeah, well... the world is a bit like that, I guess, in a lot of ways.
A comic series of short vignettes built on one another to create a cumulative effect, as the characters discuss things as diverse as caffeine popsicles, Paris in the ‘20s, and the use of nicotine as an insecticide--all the while sitting around sipping coffee and smoking cigarettes. As director Jim Jarmusch delves into the normal pace of our world from an extraordinary angle, he shows just how absorbing the obsessions, joys and addictions of life can be, if truly observed. Jim Jarmusch’s black-and-white feature Coffee and Cigarettes contains three vignettes originally released as short films along with separate yet somewhat related sketches. As the title suggests, most of the vignettes involve famous people smoking cigarettes and drinking coffee. The first, “Coffee and Cigarettes,” is a six-minute short from 1986 starring Stephen Wright and Roberto Benigni. The 1989 installment, “Memphis Version,” stars Steve Buscemi, Joie Lee, and Cinqué Lee. The award-winning 1993 segment, “Somewhere in California,” stars musicians Iggy Pop and Tom Waits. The remaining sketches include Cate Blanchett performing a duel role, a conversation with Bill Murray and members of the Wu-Tang Clan, and Alfred Molina and British television actor Steve Coogan as themselves. In its full-length version form, Coffee and Cigarettes was shown at the 2003 Venice Film Festival. ~ Andrea LeVasseur, Rovi
The intention
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“Fuck that. That’s against my personal philosophy—more of a code than a set of “rules.” Therefore, disregard the “rules” you are presently reading, and instead consider them to be merely notes to myself”
like the dialogue was to shoot short films that repeats; the situation is always can exist as the same, the shorts independently, but when way they’re shot is very simple I put them all toand the same. gether, there are things that echo
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Strange to Meet You This is the original 1986 short Coffee and Cigarettes with Roberto Benigni and Steven Wright having a conversation about coffee and cigarettes.
Twins Originally the 1989 short Coffee and Cigarettes, Memphis Version – aka Coffee and Cigarettes II – this segment features Joie Lee and Cinqué Lee as the titular twins and Steve Buscemi as the waiter who expounds on his theory on Elvis Presley’s evil twin. Cinqué Lee also appears in “Jack Shows Meg his Tesla Coil”. The scene also features a recounting of the urban legend that Elvis racistly disparaged AfricanAmericans in a magazine interview at one time.
Somewere in California Filmed in 1993 as the short Coffee and Cigarettes Somewhere in California, and won the Short Film Palme d’Or at the Cannes Film Festival.[1] In this segment musicians Iggy Pop and Tom Waits smoke cigarettes to celebrate that they quit smoking, drink some coffee and make awkward conversation.
Those Things’ll Kill Ya Joseph Rigano and Vinny Vella have a conversation over coffee about the dangers of smoking. The silent Vinny Vella Jr. also appears to beg his father for money, which is given in exchange for affection, which is not provided.
Cousins Cate Blanchett plays herself and a fictional and non-famous cousin named Shelly, whom she meets over some coffee in the lounge of a hotel. There is no smoking in the lounge, as the waiter informs Shelly (but not until Cate is gone). Shelly tells Cate about her boyfriend, Lee, who is in a band. She describes the music style as hard industrial, similar to the band Iggy describes. Cate tells Shelly she looks forward to meeting “Lou” someday.
Jack Shows Meg His Tesla Coil Features Jack and Meg White of the band The White Stripes having some coffee and cigarettes. They play themselves, although the scene seems to perpetuate the band’s former pretense that they are indeed siblings. Jack shows Meg his Tesla coil that he says he built himself and waxes intellectual on the achievements of Nikola Tesla. In the beginning, Jack seems upset that Meg doesn’t share his excitement, and it takes Meg some coaxing to get Jack to agree to show Meg his Tesla Coil. He introduces the line, “Nikola Tesla perceived the earth to be a conductor
Cousins? British actors Alfred Molina and Steve Coogan have a conversation over some tea. (Coogan offers Molina a French cigarette, but Molina “saves” his for later.) Molina compliments Coogan’s designer jacket but notes that it will make him hot in the 85 degree Los Angeles heat. Molina works up to presenting his evidence that the two are distant cousins. Coogan rebuffs Molina until Katy Hansz asks Steve Coogan for an autograph, and Coogan won’t give out his phone number to Molina. Then when Alfred Molina gets a call from his friend Spike Jonze, Coogan tries to make amends, but
Delirium Hip-hop artists (and cousins) GZA and RZA of the Wu-Tang Clan drink naturally caffeine-free herbal tea and have a conversation with the waiter, Bill Murray, about the dangers of caffeine and nicotine. During this conversation GZA makes a reference to how he would drink lots of coffee before going to bed so his dreams would “whip by” similar to the camerashots at the Indy 500, very similar to the same reference that Steven Wright did in the first segment. Murray requests that GZA and RZA keep his identity secret, while GZA and RZA inform Murray about nontradi-
of acoustical resonance.” Intrigued by this concept, Meg repeats the phrase and clinks her coffee cup at the end of the segment to produce a ringing noise, and she looks pensively out into the distance before a cut to black.
it is too late, and he regrets missing the chance to make the connection. Although they say they are in LA, the segment was actually shot in Brooklyn at Galapagos, Williamsburg.
tional methods to relieve his smoker’s hack.
No Problem Alex Descas and Isaach De Bankolé are a couple of friends who meet and talk over some coffee and cigarettes. Alex has no problems, or so he answers to Isaach’s repeated questioning. At the end of the scene, Alex takes out a pair of dice and rolls three sets of doubles. It could be assumed that Alex Descas has an excessive gambling problem but to him it is not a problem because of what he can roll. Notice he doesn’t roll the dice in front of his friend.
Champagne William “Bill” Rice and Taylor Mead spend their coffee break having a nostalgic conversation, whilst Janet Baker singing “Ich bin der Welt abhanden gekommen” from Mahler’s Rückert-Lieder appears from nowhere. William Rice repeats Jack White’s line, “Nikola Tesla perceived the earth as a conductor of acoustical resonance.” It is possible to interpret the relevance of this line to the constant recurrent themes throughout the seemingly unconnected segments.
We, the undersigned, are graphic designers, photographers and students who have been brought up in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable means of using our talents. We have been bombarded with publications devoted to this belief, applauding the work of those who have flogged their skill and imagination to sell such things as: cat food, stomach powders, detergent, hair restorer, striped toothpaste, aftershave lotion, beforeshave lotion, slimming diets, fattening diets, deodorants, fizzy water, cigarettes, roll-ons, pull-ons and slip-ons. By far the greatest effort of those working in the advertising industry are wasted on these trivial purposes, which contribute little or nothing to our national prosperity. In common with an increasing numer of the general public, we have reached a saturation point at which the high pitched scream of consumer selling is no more than sheer noise. We
think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, films, television features, scientific and industrial publications and all the other media through which we promote our trade, our education, our culture and our greater awareness of the world. We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication. We hope that our society will tire of gimmick merchants, status salesmen and hidden persuaders, and that the prior call on our skills will be for worthwhile purposes. With this in mind we propose to share our experience and opinions, and to make them available to colleagues, students and others who may be interested.
Edward Wright Geoffrey White William Slack Caroline Rawlence Ian McLaren Sam Lambert Ivor Kamlish Gerald Jones Bernard Higton Brian Grimbly John Garner Ken Garland Anthony Froshaug Robin Flor Germano Facetti Ivan Dodd Harriet Crowder Antony Flift Gerry Cinamon Robert Chapman Ray Carpenter Ken Briggs
1 THINGS ST 1 ST
AGENDA SERRALVES Dia 26 de abril a 31 de Julho A Entrevista Perpétua
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