jim: which one of our friends is going to be around for this? amos: yeah, exactly. are you going to be around next tuesday? i saw myself more as like experimental filmmaker. you know like the godard films for example, they were inspiring because i would say, i can do that. jim: i owe a lot to amos. when i saw the foreigner, it was amazing the whole scene was there, everybody was there. amos: yeah, that was a big night. jim: i got so charged up. and i was sure i was going to make films. anthony: and your first film was a student film? jim: my first film was a student film, permanent vacation. i think people like myself are crazy. because of the way i live, you know. jim: nyu film school made a mistake, so i had a $12,000 budget for my first film. anthony: which is enormous for the time. jim: it was huge, for me. but the root of the word amateur is the love of a form. and professional means you are doing it for money.
john: i m really curious, because i ve seen your show, and i watch you sit down, you eat like some mouse head soup. and then you go, mmm, it s delicious. i m just curious to see when you eat the hard-boiled egg if you re going to say, this is delicious. anthony: as long as it s not like half-term chicken fetus in there. which wouldn t be the first time for me by the way i ll be thrilled. john: we really felt like the universe was between houston and 14th street, and bowery and avenue c. you know, and if you went outside there, you were a phony. you were a traitor. like, we re done with you. might as well be an accountant. anthony: what about film? as it turned out, you ended up appearing in the work of amos poe, jim jarmusch, all very seminal films. john: and i made my own films, too. but i was kind of just like, you go downstairs, you run into a
frat boys with baseball caps on backwards. does this give you a sinking feeling? make you angry? or amos: i wish i would ve bought real estate, that s for sure. jim: the thing that i always tell myself is look at the history of new york city, and it s always about hustling, and amos: change. jim: change. and if you want it to stay the same, man you got the wrong historical spot because there used to be a native american trading post on the tip of manhattan. it s now wall street, you know? i don t want to go out in the streets i just don t want to go out in the streets no more buzz these people they give me, they give me the creeps anymore too many creeps too many creeps too many creeps
which i still hope i consider myself an amateur, for sure. anthony: what was the budget on your first film? amos: oh man. jim: $12. amos: yeah. well, it depends on what you call first film, but um, blank generation was like $2,200. i started shooting bands, and it was more, how do you shoot music with a silent camera. and then unmade beds was like my first narrative film. it was like about $4,000. jim: i think in unmade beds someone from the new york times called it the cinematic equivalent of kindergarten scribbling. and amos put that on his posters. new york times. and that was the most like punk ass move. anthony: so yeah, what do you think now when you walk around the neighborhood, you know, you used to you had to pay some dues to walk down back in the day. and now it s projectile vomiting
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