IMDb:https://www.imdb.com/name/nm0000464/
Date of Birth:22 January 1953, Akron, Ohio, USA
Height:6' 2" (1.88 m)
Trademarks:Stationary camera (deadpan). His films often involve travlers as well as life after midnight. Shows and views the American landscape from a non-commercial viewpoint (e.g. the tavern were everybody knows your name instead of franchised stripmalls) Often casts musicians as actors in his films Salt & pepper hair The narrative structure of his films mostly lack clear plot progression and focus more on mood and character development Introvert character eavesdrops on two strangers' conversations Offscreen distant train whistle Sense of place/historical figures from movie's location Country music on soundtrack Japanese tourist
An in-depth look at the legendary punk band, The Stooges.
Paterson is a bus driver in the city of Paterson, New Jersey - they share the name. Every day, Paterson adheres to a simple routine: he drives his daily route, he writes poetry into a notebook; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura. By contrast, Laura's world is ever changing. New dreams come to her almost daily. The film quietly observes the triumphs and defeats of daily life, along with the poetry evident in its smallest details.
Exploring the pre-fame years of the celebrated American artist Jean-Michel Basquiat, and how New York City, its people, and tectonically shifting arts culture of the late 1970s and '80s shaped his vision.
Director of Photography Robby Müller is one of the few people in the world who knows how to play the sun. How to catch its rays like butterflies. How to strike its beams like chords. When Robby moves his camera, the camera turns into a musical instrument. And the whole world dances, radiates, is illuminated. For her extraordinary film essay Director and DoP Claire Pijman had access to Müller's personal archive: thousands of Hi8 video diaries, personal pictures and Polaroids that Müller photographed throughout his career; often with long term collaborators such as Wim Wenders, Jim Jarmusch and Lars von Trier. The film intertwines these images with excerpts of his oeuvre, thus creating a fluid and cinematic continuum. In his score for Living the Light Jim Jarmusch gives this wide raging scale of life and art an additional musical voice. With his ground-breaking camerawork, inventive lighting methods, his exceptional sense for the depth of colour, and the freedom of framing, plus his.
The peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.