Jim Jarmusch’s Only Lovers Left Alive looks typically radical. Lutenist (had to look that up) Jozef van Wissem wrote original tunes which feel like they have a great old world quality, he bagged the lute award at Cannes which was a very competitive category. Check out more of their collaboration at Rolling Stone, and Jarmusch on ATP, Crystal Meth and Wu Tang is pretty funny too, 'I have a problem when Sting takes his shirt off'
Director’s Statement: Only Lovers Left Alive is an unconventional love story between a man and a woman, Adam and Eve. (My script was partially inspired by the last book published by Mark Twain: The Diaries of Adam and Eve — though no direct reference to the book is made other than the character’s names.) These two lovers are archetypal outsiders, classic bohemians, extremely intelligent and sophisticated — yet still in full possession of their animal instincts. They have traveled the world and experienced many remarkable things, always inhabiting the shadowed margins of society. And, like their own love story, their particular perspective on human history spans centuries — because they happen to be vampires.
But this is not your usual vampire story. Set in the very distinct cities of Detroit and Tangier, and taking place almost entirely at night, Adam and Eve must have human blood to survive. But they now live in the world of the 21st century where biting the neck of a stranger would be reckless and regressive — for survival, they must be certain the blood that sustains them is pure and free of disease or contamination. And, almost like shadows, they have learned long ago to deftly avoid the attention of any authorities. For our film, the vampire is a resonant metaphor — a way to frame the deeper intentions of the story. This is a love story, but also the story of two exceptional outsiders who, given their unusual circumstances, have a vast overview of human and natural history, including stunning achievements and tragic and brutal failures. Adam and Eve are themselves metaphors for the present state of human life — they are fragile and endangered, susceptible to natural forces, and to the shortsighted behavior of those in power.
Tilda is basically a sure bet in any film and I’m really coming around to Tom Hiddleston too.
I love this quote from Tom Waits
The key, I think, to Jim, is that he went gray when he was 15 … As a result, he always felt like an immigrant in the teenage world. He’s been an immigrant – a benign, fascinated foreigner – ever since. And all his films are about that.
—Tom Waits, New York Times 2005