Jim Jarmusch is one of the truly independent filmmakers having
successfully navigated his way in and outside of Hollywood. Director of
19 films, his most famous are Coffee & Cigarettes, Mystery Train,
Stranger Than Paradise, Night on Earth, and Ghost Dog: The Way of the
Samurai.
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.
Rule #3: The production is there to serve the film.
The film is not there to serve the production. Unfortunately, in the
world of filmmaking this is almost universally backwards. The film is
not being made to serve the budget, the schedule, or the resumes of
those involved. Filmmakers who don’t understand this should be hung from
their ankles and asked why the sky appears to be upside down.
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.”
Article thanks to
Moviemaker.com
