o mais terrível em Jarmusch, para mim claro, é vê-lo também como um dicionário de imagens, a maior parte das quais não sei de onde vêm. mas que vêm de algum lado, isso sei. moving history of movie history. ["Life has no plot, why must films or fiction?", J. Jarmusch]
"While shooting the film someone outside the production asked me what kind of film we were making. I wanted to tell them that it was a ”semi-neorealist black-comedy in the style of an imaginary Eastern-European film director obsessed with Ozu and familiar with the 1950’s American television show ‘The Honeymooners’”. Instead I mumbled something about it being a minimal story about Hungarian immigrants and their view of America. Neither answer is right, but the question made me aware that its easier to talk about the style of the film than ‘what its about’, or what happens in the story." J. Jarmusch, em Some Notes, aqui.
"a mountain out of a molehill", Ebert."discovering the ludicrously sublime in the supremely tacky", NYTimes.
"You think we're in Ohio yet?" dentro do carro, e não pude deixar de pensar em Vladimir e Estragon.