jim jarmusch land. >> you can go there. >> it is nice to be there.ationnd a half was created by you. >in order to make films about individuals -- >> to make film fans. i,colleague mark cousins and we inaugurated this foundation to create a new birthday for children. eight and a half to read when they become film fans. 8.5?ite in the half -- why son when hee of my asked that question. also the name of a fleeing the film. film.lini children have taken part. into national films from the last hundred years. we now have 100 years of cinema to draw on. they write to us. they will work on one or 8.5 -- 1/2th birthday is. it will be something from iran or china. it will almost surely not have been made by disney or pixar. >> what were you doing at moma? >> apparently i was there. >> you were asleep? talk about this. >> it is a piece of work. i offered to make it. i made it originally 19 years again london, and then in rome. the performance department was making a series of re-performances of old performance art. i was invited to do it at moma. it's part of t

jim jarmusch's vampire lover film.know, martin scorsese's wall street. >> charlie: you love wall street? >> i love "the wolf of wall street" very much. >> charlie: several great performances. >> very much. again, a whole world. >> charlie: yes. i was very grateful to have known the wonderful michael powell at the end of his life, and i once had a very meaningful moment with him when i had flown over from home to new york and i met him in the evening and he said, what was on the plane? was there a good film on the plane? and i said no. he said, what was it? and i said, "batman," i think was one of the first "batman" films. he said -- the first time anyone's ever said this to me -- you're wrong, that is a good film because it makes its on world. any film that makes its on world is a good film. and i swallowed that and digested that ever sips and i absolutely believe he's right, and those filmmakers i referred to before, they are all making unique worlds. >> charlie: great to have you. nice to see you, charlie. >> charlie

they're more inspired, i think by jim jarmusch or martin scorsese or jane campion than they are by, well. you know, george lucas or steven spielberg. schrader: my theory is that the reason orson welles scared hollywood to death is because he inserted his personality in the most... elephantine, multi-talented way into cinema and it was just terrifying to see that much personality. the directors who had a style worked in certain channels-- the hitchcock style, the sturges style the ford style, the lubitsch style. there was a way they did it but they were working in the corporate conglomerate way. uh, orson welles was saying, "screw all of this. i'm going to reinvent movies." and, well, they got rid of him. and then, you know, with the nouvelle vague and then with bertolucci finally... this has now taken root in hollywood which is why hollywood is so anxious and confused at the moment because they know they have to give money to spike lee and to quentin tarantino and they don't like that fact. eventually they can co-opt them, hopefully. or make money off of them and hold their nose while th