“I love getting lost in a place I don’t really know—it’s something very freeing. Instead of anxiety, like some people have, I feel so free to be lost,” says Jim Jarmusch. “I like to follow instincts, and oddly enough, it’s a kind of discipline. My little game of ‘get lost and don’t know where you are’ is a process for me that is very helpful for my imagination.” Most know Jarmusch as an influential writer-director of American independent cinema, boasting an interlacing filmography of artistic, counter-culture films like Dead Man, Ghost Dog and The Limits of Control since the release of his debut full-length, Permanent Vacation, in 1980 as a 27-year-old grad student at NYU. The man is a sub-cultural icon, eschewing the mainstream to create rewarding works of art that long to be close read. Raised on Jean-Luc Godard and New Wave cinema, nurtured through adolescence by Kenneth Koch and the New York School poets, and slow diving into the future with the support of ATP Recordings and a handful of relevant musicians, Jarmusch’s intellectual repertoire is expansive and continuing. Much like his films, the man has the ability to lose himself in the present details, while retaining an impressive understanding of the past. Perhaps it was subconscious self-reflection that materialized the filmmaker’s latest character creations: a couple of incisive, decades-old vampires in his upcoming release, Only Lovers Left Alive.