Behind Jim Jarmusch - Part 1

It's more interesting, all the things one doesn't know, is more fascinating than the things one does know. You know what i mean? Like, I love music so I know a lot about a lot of kinds of music. I know a lot about the history of movies. but I get so excited when I realize all the beautiful films I've never seen that exist or all the music I don't know about yet it's really exciting. up Gracias. Gracias. -Now, which side? -It was like that. -Camera is here. -No, it was like that. -Yeah. Sure about that one? I don't know? Yeah but, then you have actors that... you have Isaac De Bankole who likes to move *** around. My patience is dwindling. -I'm very p.. Am I patient Rob? -Yeah. God damn it! Am I calm? Tell her what I said! -I can't *** work this way! -"Rob, just move out!" -Rob, get out of the way! "Move out, Rob!" I try to be patient. I try very hard. And then I explode. Ok, 32 for us. So, don't go there, you're gonna do pick-up shots. Just over here. Yeah, somwhere here. When you work with Chris Doyle, you carry a gun on the set. And you feel like using it about every other shot. Ok, load it, locked to load. Let's go we have to shoot. Silencio, quiet! Now this way a little bit. Towards me, towards me. Okay good. No flash photography thank you! Okay. Okay here we go. Roll sound. Action!.. Wait, there's an arm out there Stop. Reset. -Back to one. -I know but I... -Right away, right away. -Here we go! -Ferran, isn't in the shot? -Okay, he is not. -Okay here we go. Let's roll sound. Okay. And action! -Cut. -Cut! Nothing is original. All human expression... is really just endless variations. They are only a limited number of stories... you can tell. But there is an unlimited number of... ways to tell the same story. We're trying to arrange to have these trees with us in every film. I always work... I always work under a blooming orange tree. It's in my contract. I love them. Look there is bees too. -I must be accompanied by the scent of... -Look, pollinators. -Yes. -Hello. -God's pollinators who are, unfortunately, on the decline, for some reason. -I know, It's terrifying. Orange blossom honey is great too, right? Thinking about what we're about to do. Sometimes thinking about nothing. Just watching things. Just a little bit too profile. -Cameras are ready. -Thanks, governor! There's even a recording of him playing it, on 'malaguenas'. Actually recorded on... a wax cylinder in the 1920s, beleive or not. I don't know why that's wrong. Isaach can you show me one, two, three? But Isaach, you have to look more to your right. Yeah. Can you find that one, Isaach? That's where they're going away. That's good. Alright. That'll work, I hope. She smells good. She smells good. It's not in tune. I love variations in art and in music. Like, the idea of taking one thing and slightly changing it, and again and again. Now, I'm hot. It's not in tune, really. She comes from madrid. Okay. Roll sound. -Two minutes, right? -Yeah. Let's go ready. Here we go. Quiet. Action. My grandfather was Bohemian. But, not in the sense that we're discussing it, he was actually from Bohemia. You know? In the Prague sense. I don't think that he would have had any interest or sympathy for that sort of bohemian. But then, they are often the true artists, are they not? I'm sorry. Are you interested in art, by any chance? Maybe... painting perhaps? Yes... Well, as we were discussing... What the hell was it? Oh, yes, the... -What's the word? -Derivation Let's cut. It's okay. You have that one reaction of these... Thank you. Glasses. Got to have these. -Just do this part again, up to this part. -Yeah. Sure, sure, sure, absolutely. So, "Well, I don't know the origin exactly" through, "Things to do." This part we should get again. So, it's time to mark it up. Four minutes... Oh yes, the derivation of the usage of "bohemian" in reference to artists or artistic types. That was it wasn't it? Well, I don't know the origin exactly. Of course, there is Puccini's opera, "La Bohéme", that's based on the French book, "Scénes de la vie de bohéme", by Henri Murger. Probably, published mid-19th century. It's all about the crazy, wild lives or starving sub-cultural artists in Paris. And music and sex and painting substance abuse, all of that. At times you need to, of course. There was an oddly Finnish film. Cut! Each thing you do is only once. I mean, you never do the same thing again. When you film each time, even the same thing you film again, another take, it's always something different, so, shooting always reminds me that, there's only the present. In to frame, guys. Guys, help. Just turn the table? All right, just step aside. Listen to me. It's no good. No, on camera there's only one guy here, apart from Rob. It's that guy. If he moves, he'll be in the frame. But he wasn't in my frame. -Thank you. -We're fine. This, you know, you get more of the trees in there. -But you know... -What do you want to have? Let's just get it in the shot. -Why don't we move the furniture? -Yeah. -This one there... -Let's do the waiter in this one. They're all over there. More on the left. 'Cause we're gonna start catching it right here. -Can't we get any more weird sounds? -Yeah, exactly. Everything, throw in. -Rain, cut. -Yeah. -No, no, no, no. -Keep rolling? -Rolling, quiet! Now look at the archway where the guy's gonna come from. And cut. I love to walk. I like cities you can walk. Paris, New York, Sevilla. First time I ever came here, all I did was walk, walk, walked until I got lost. Because once you're lost, it's pretty easy to find yourself again here, you know? But it's really easy to get lost, which is great. I feel free when I'm lost. I don't like plans. He can kiss her. Rolling. Quiet, please. Action. -You come back. -Still rolling. Okay let's roll sound. Action. Oh cut. Go back start again. Each time we get a guy walking right behind her. Okay, cut. Okay. Let's roll sound. Increase sound speed. -Action. -Action. -Cut. Good. That's cool. -Let's go. Sevilla. You know, Orson Welles is buried outside of Sevilla. Was his favorite city in the world. Orson Welles... The first time I was in Sevilla, I came back to New York very late at night. I went to my apartment, I turned on my T.. my black and white TV I found on the street, and Orson Welles was on TV, on a talk show. and the guy... I swear, I just turn the tv on, the interviewer says: "So, what's your favorite city in the world?" and... Orson Welles said "Oh, without a doubt, my favorite city in the world is Sevilla." and I just come back, jetlag, and get in my tenement apartment. That's the first thing I saw. It was an interesting coincidence. The great mystery. I'm not sure anything is coincidental anymore. I don't believe in fate and I don't believe in coincidence. -I believe only in contradictions. -And, possibilities? Yeah all possibilities are endless. If you don't believe in fate or you don't believe in chance, either one. It's like my motto. It's hard. Hola. "It's hard to get lost if you don't know where you're going." It's my motto. A happy child. A nice place to be...