Did the Melville film about the samurai have any shape on Ghost Dog?
Jim Jarmusch: Inspiration certainly. Not so much on the shape of the movie, but certain thematic things. Melville always has killers wear white editor’s gloves, which is a private joke between him and his editors, I guess saying his editor kills his films. So Forest wears white editor’s gloves in the film. But there are references to other films. My favorite hitman films of all time are Le samoura├», and Branded to Kill by Suzuki. I made quotations from those films in ways. [ x ]

Ghost Dog was a big breakthrough for me. Though I refer to Chaucer or to Walt Whitman or things in passing in the earlier films, in this case I opened myself up to actually quoting other things, and that came, I really think, from my love of music. I love all kinds of music, but hard bebop, dub, and hip-hop, in particular, are forms that are very open about taking things from other places, and I think they gave me—well, “courage” isn’t the right word, but my love of those forms of music somehow spoke to me internally and said, “Don’t push things away just because they come from other sources,” which is what I often used to do. “Go ahead and open the windows and let them in, and don’t hide that you let them in.” I’m not going to play a game like all these ideas are original and they’re mine: I want to talk about where they came from, because if someone sees Ghost Dog and it leads them to see films by Melville or Point Blank, by John Boorman, or the films of Seijun Suzuki, or to read Don Quixote, or something that I mention in the credits, then that’s a good thing. I didn’t hide that in any way in Ghost Dog. Maybe Dead Man was a precedent, because that wacky poet William Blake walked right into my damn script. [ x ]


"I started out as a ‘program picture’ director, and program pictures are strictly entertainment. Therefore, the scripts I received from the studio weren’t artistic to begin with. So there was no hope of making an artistic film from the script. The only thing that I could hope to do was to make movies fun and entertaining. The critics say films have to have social commentary or a humanitarian point of view and that is that. But what I was aiming for was how to make a movie entertaining. So I tried a lot of different ideas and styles to accomplish that."
Seijun SuzukiBorn May 24, 1923

"I started out as a ‘program picture’ director, and program pictures are strictly entertainment. Therefore, the scripts I received from the studio weren’t artistic to begin with. So there was no hope of making an artistic film from the script. The only thing that I could hope to do was to make movies fun and entertaining. The critics say films have to have social commentary or a humanitarian point of view and that is that. But what I was aiming for was how to make a movie entertaining. So I tried a lot of different ideas and styles to accomplish that."

Seijun Suzuki
Born May 24, 1923

"Why make a movie about something one understands completely? I make movies about things I do not understand, but wish to."
Seijun Suzuki (born May 24, 1923)

"Why make a movie about something one understands completely? I make movies about things I do not understand, but wish to."

Seijun Suzuki (born May 24, 1923)

Tattooed Life // dir. Seijun Suzuki

Tattooed Life // dir. Seijun Suzuki

Branded to Kill // dir. Seijun Suzuki

Branded to Kill // dir. Seijun Suzuki

Detective Bureau 2-3: Go to Hell Bastards! // dir. Seijun Suzuki

Detective Bureau 2-3: Go to Hell Bastards! // dir. Seijun Suzuki

Joe Shishido and his cheeks // Branded to Kill // dir. Seijun Suzuki

Joe Shishido and his cheeks // Branded to Kill // dir. Seijun Suzuki