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korindjar

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Levo je Rock Hudson..

 

edit: To je bilo neko promo okupljanje kod Paramounta 1969. Eastwood i Marvin su snimali Paint Your Wagon, a Wayne je snimao True Grit..

Edited by Jimmy Kowalski
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Sir Patrick Stewart as Oberon in “A Midsummer Night's Dream” at the Royal Shakespeare Company, Stratford-upon-Avon, 1977.

 

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Valjda je ovo OK mesto, a moze i na film i na muziku. Intervju sa Dzarmusem u Gardijanu
 

Interview ‘The film industry is gone. It sucks’: Jim Jarmusch on swapping directing for drone rock

 


Izdvojila bih jedan meni vrlo zanimljiv komentar i pogled na Dzarmusove junake.

 

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«Jarmusch, a born and bred American, has always been looking at America like an outsider. Somehow, he is more strudel than apple pie. But Jarmusch not only looks at the country through a filter of otherness - his characters are strangers in their own land. His protagonists are all as American as it gets but not All-American. They act as they don't belong because there is no place for their temperament in the middle class or the working class. Thus, Jarmusch is the chronicler of those suspended in-between - the classless. In that, his films have more in common with the early Wenders, Herzog, and Fassbinder than they do with Cassavetes, Scorsese or Schrader. His soundtracks however, offer a full spectrum of Americana - again not mainstream, but wornderfully niche and offbeat. Jarmusch is pure fusion of all things eccentric. And so, it seems, is his wonderful music.»

 


Interesantno je da je on drugi reditelj za koga sam procitala da je imao problema sa Vajnstinom sa pretnjom da ce da im upropasti sve sto rade, ukoliko ne uradi nesto po njegovoj volji. Drugi je Norvezanin Tydlum koji je rezirao Imitation game.
 

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“I’m a control freak in that I have to do it my own way,” Jarmusch says. “I have to choose all my own collaborators. I have to have final cut. I have to produce it through my own company. And as for the people financing the films, I allow them to give me notes on a rough cut but I always, contractually, have absolutely no obligation to use them.”

When making 1995’s Dead Man, Jarmusch briefly flirted with working with larger production companies and found himself at loggerheads with the then boss of Miramax, Harvey Weinstein. After Jarmusch refused to take his suggested cuts on board, Weinstein reportedly sabotaged and minimised the film’s cinematic release. Despite this, it is often declared a masterpiece by critics, and has come to perfectly embody Jarmusch’s lifelong commitment to art over commerce»

 

 

 

 

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