There are actors and motifs that find their way into many Coen Brothers films. Here are just a few!
Blackmail
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Blackmail is a running theme throughout the Coen Bros films. It fits in well with their post-modern worlds.
The concept of blackmail is that someone has some information regarding someone else; and that someone else doesn’t want that something revealed to certain entities. So, that prompts the first someone to manipulate that person into getting something they want.
Blackmail is an act motivated by manipulative and selfish thoughts. People would often think that blackmail is pretty low on the ethical scale. Which fits perfectly with the Coen’s sleazy characters and “good” characters who are just doing what they have too to get by.
Often in the Coen brother’s movies there is a briefcase full of money, like in Burn After Reading, or The Big Lebowski, Fargo, and No Country for Old Men. Money is often a key factor of any good blackmail. It’s the general desire of the person doing the blackmailing.
In Fargo, when Jerry thinks that his father in law is going to give him the money he wants, he begins to call off the kidnapping of his wife. This double back, prompts Carl to blackmail him. He tells Jerry that a deal is a deal, and then he increases the amount of money he desires. Sure, this is under the threat of killing his wife, but he could just as well tell Jerry’s father in law that he had set up the kidnapping in the first place. But as with most Coen Bros characters, they go the more violent route.
Earlier in the movie, Carl tries to bribe a police officer into letting him pass. Bribe is a stretched form of blackmail, because the shift of offering power is swapped. The person is willingly trying to pay someone, not like they are forcing them with blackmail. -- Roger Fountain
The concept of blackmail is that someone has some information regarding someone else; and that someone else doesn’t want that something revealed to certain entities. So, that prompts the first someone to manipulate that person into getting something they want.
Blackmail is an act motivated by manipulative and selfish thoughts. People would often think that blackmail is pretty low on the ethical scale. Which fits perfectly with the Coen’s sleazy characters and “good” characters who are just doing what they have too to get by.
Often in the Coen brother’s movies there is a briefcase full of money, like in Burn After Reading, or The Big Lebowski, Fargo, and No Country for Old Men. Money is often a key factor of any good blackmail. It’s the general desire of the person doing the blackmailing.
In Fargo, when Jerry thinks that his father in law is going to give him the money he wants, he begins to call off the kidnapping of his wife. This double back, prompts Carl to blackmail him. He tells Jerry that a deal is a deal, and then he increases the amount of money he desires. Sure, this is under the threat of killing his wife, but he could just as well tell Jerry’s father in law that he had set up the kidnapping in the first place. But as with most Coen Bros characters, they go the more violent route.
Earlier in the movie, Carl tries to bribe a police officer into letting him pass. Bribe is a stretched form of blackmail, because the shift of offering power is swapped. The person is willingly trying to pay someone, not like they are forcing them with blackmail. -- Roger Fountain
Carter Burwell
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Carter Burwell has built his career along with the images of the Coens’ films, setting him up as one of the most prolific orchestrators in the history of modern film. Burwell has scored almost all of the Coens’ films. His first instance of working with the Coens’ was also their debut into the film world. Blood Simple (1984) illustrated Burwell’s ability to convey dread and terror on the screen that coupled well with the minimalist aspects of this rough draft of auteurism by the Coens. Burwell’s attention to detail of subtleties in the action helped him partner with the Coens in creating modern Noir, Neo-Western, as well as comedic takes on tragedy and loss. Burwell has shown extreme flexibility and creativity, especially with his work on The Big Lebowski (1998) with his ability to meld The Dude (Jeff Bridges) with the insanity surrounding him on screen. In the most prolific scenes of the film it can be argued that the music supports itself as an equal to the images. No Country For Old Men (2007) was a reemergence of the Western in a modern sense and the accompaniment of Burwell’s score helped to bring Anton’s (Javier Bardem) menacing terror to a realistic tenseness for the viewer. From each setting Burwell portrays the feeling of whoever is on screen, in whatever predicament they find themselves in, be it running from hitmen or finding out that your wife is cheating and wants a divorce. True Grit (2010) highlighted Burwell’s durability as he helped the Coen Brothers reimagine one of the most beloved characters in Western Mythos. Like a good cover song, the Coens’ take on Cogburn (Jeff Bridges) had as much to do with his origins in the novella as John Wayne’s legendary portrayal. Burwell’s purest skill comes in his ability to use small nuances in sound to get extraordinary results. - William McCormack
Steve Buscemi
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Steve Buscemi is a “funny looking” man that has appeared in several Coen Brother’s movies. Including The Big Lebowski, Fargo, Barton Fink, Miller’s Crossing, and The Hudsucker Proxy.
Steve Buscemi has a great capability to play weasel-like characters, thanks to his looks, and his speech. He fits in well with the Coen Brother’s universe(s) that are somewhat comical but grotesque at the same time.
In Barton Fink, he plays the hell-imp-like character Chet. While it may be a minor role, Steve still manages to leave an impression in my mind even after watching the movie weeks ago.
The Hudsucker Proxy positions Buscemi as a beatnik bartender, and in Miller’s Crossing, he also only has a minor role. As Mink, he only appears for a short amount of time near the beginning of the film, but his role as a corpse is still very important and his character’s name is dropped several times throughout the film.
In The Big Lebowski, his role is a little larger As Donny, he serves as even more of a comic relief to an already comical film. Every time he tries to speak up, he is quickly shut down with a “shut the fuck up Donny.” Ultimately, Donny does shut the fuck up. As most of Steve’s characters in Coen Bros movies, Donny dies.
He’s probably known most notably for Fargo. In which, Steve’s character, Carl Showalter, helps kidnap a woman, gets shot in the jaw, and then gets murdered with an axe and shoved into a grinder. This is the major role that Steve shows that he can shine as more than just a supporting role in a Coen Brother’s film. Indeed, most of the action follows Steve throughout this film about lies and stupidity.
Thanks to the Coen Bros writing I still see Steve’s face in Fargo when he says “Hey, I was banging that girl!” or in Barton Fink when he does his “I’m Chet” routine.
The Coen Brother’s movies which often have weird aspects and uncomfortable scenes can always use someone like Steve Buscemi. Leading role or not, he’s a fantastic actor and he contributes a certain grade of mischievousness that is hard to find anywhere else. - Roger Fountain
Steve Buscemi has a great capability to play weasel-like characters, thanks to his looks, and his speech. He fits in well with the Coen Brother’s universe(s) that are somewhat comical but grotesque at the same time.
In Barton Fink, he plays the hell-imp-like character Chet. While it may be a minor role, Steve still manages to leave an impression in my mind even after watching the movie weeks ago.
The Hudsucker Proxy positions Buscemi as a beatnik bartender, and in Miller’s Crossing, he also only has a minor role. As Mink, he only appears for a short amount of time near the beginning of the film, but his role as a corpse is still very important and his character’s name is dropped several times throughout the film.
In The Big Lebowski, his role is a little larger As Donny, he serves as even more of a comic relief to an already comical film. Every time he tries to speak up, he is quickly shut down with a “shut the fuck up Donny.” Ultimately, Donny does shut the fuck up. As most of Steve’s characters in Coen Bros movies, Donny dies.
He’s probably known most notably for Fargo. In which, Steve’s character, Carl Showalter, helps kidnap a woman, gets shot in the jaw, and then gets murdered with an axe and shoved into a grinder. This is the major role that Steve shows that he can shine as more than just a supporting role in a Coen Brother’s film. Indeed, most of the action follows Steve throughout this film about lies and stupidity.
Thanks to the Coen Bros writing I still see Steve’s face in Fargo when he says “Hey, I was banging that girl!” or in Barton Fink when he does his “I’m Chet” routine.
The Coen Brother’s movies which often have weird aspects and uncomfortable scenes can always use someone like Steve Buscemi. Leading role or not, he’s a fantastic actor and he contributes a certain grade of mischievousness that is hard to find anywhere else. - Roger Fountain
Bruce Campbell
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Bruce Campbell began his acting career when he was just a teenager. Though he got his start appearing in Sam Raimi films, Campbell appeared in The Coen Brother’s The Hudsucker Proxy (1994) as Smitty the reporter. Campbell met Joel and Ethan Coen on the set of the 1985 comedy Crimewave. The Coen’s were co-writers alongside Raimi, who also directed the film. Joel Coen had previously been an editor on Raimi’s The Evil Dead, which starred Campbell. Working on the film inspired Joel Coen to complete his own film with his brother titled Blood Simple. Campbell was one of the first ones to read the script for Blood Simple and had nothing but nice things to say to the Coen’s. Comparing their work to that of Alfred Hitchcock.
Campbell continued his friendship with the Coen Brother’s, making a minor appearance as a soap opera actor in Fargo (1996) and Intolerable Cruelty (2003). He also starred as a Humane Society worker in The LadyKillers (2004). Though he hasn’t appeared in any Coen Brother’s films since, Campbell continues to have a successful career in television and film. - Mackenzie Tucker
Campbell continued his friendship with the Coen Brother’s, making a minor appearance as a soap opera actor in Fargo (1996) and Intolerable Cruelty (2003). He also starred as a Humane Society worker in The LadyKillers (2004). Though he hasn’t appeared in any Coen Brother’s films since, Campbell continues to have a successful career in television and film. - Mackenzie Tucker
Circles
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Circles make their way into the films of the Coen Brothers in a plethora of ways. Ceiling fans in Blood Simple (1984) link the characters who are staring up at them. They all hold something in common, guilt and fear. Bullet holes in the walls also highlight the Coens’ circular affinity as the light shines in on the intended victim who survived the “darkness”. In The Big Lebowski (1998) lone tumbleweed sets the mood of the film, obviously about isolation and The Dude’s inability to disappear into the modern world. He is the nomad, the outsider. The bowling ball holds many different purposes. It is used to identify its user, in the case of Jesus, as well as a comedic device when dropped on Dude’s floor followed by a golf joke to fit The Dude’s attitude. The bowling ball is ironic and absurd because of The Dude’s actual lack of bowling in the film. The wheelchair of Mr. Lebowski (David Huddleston) highlights his weakness, as well as what he demands is a strength, his ability to overcome (which we find is due to his wife’s fortune, not him). The hat in Miller’s Crossing (1990) does two things for the characters on screen, it identifies the wearer, and it identifies the wearer’s intentions based on its placement on the head. In No Country for Old Men (2007) many items can be seen as circles and with knowing the Coens’ tendencies it can be assessed that they were aware of the usage and its message. The bolt gun used by the villain does once thing instantly when seen on screen, promotes fear. It is with this gun that the circles become apparent, when he murders the driver of a vehicle he steals and when he blasts out the locks of various doors. The silencer of his shotgun is a highly accentuated piece that is overbearing and full of rage as he rips through his victims. In each film the circle is used for a multitude of purposes. The most recurring are feelings of isolation, repetition (being stuck), and a loss of control. - William McCormack
George Clooney
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George Clooney has been one of the biggest movie stars of the past 15 years. He has earned Academy Awards and Sexiest Man Alive a couple of times. He is also a favorite of the Coen Brother’s films. He has starred in O Brother Where Art Thou?, Burn After Reading, and Intolerable Cruelty. George possesses that type of dry comedic ability that the Coen Brother’s love to do in their movies. For instance, in O Brother Where Art Thou?, George’s character Everett McGill is a wordy man who is on a journey to get his wife back. What makes this character a comedic one for the Coen Brother’s is the fact that Everett is obsessed with how his hair looks and is a believer in science even though they are in the deep South. He’s a “Dapper Dan man.” The Coen Brother’s have always had a sense of humor in their movies and are often times misunderstood; however, they always get actors to act in more than one of their movies. George is a frequent collaborator with them and will continue to be one. It is pretty safe to assume that when George was in those three movies he learned a lot from the Coen Brother’s because in the years following, he has won 2 Oscars, one for acting and another for producing, and been nominated a total of 8 times for acting, writing, and directing. This is how influential the Coen Brother’s have been towards the actors they have worked with. O Brother Where Art Thou? is what helped George get out of the Batman era and into more of a dramatic or comedic actor. George Clooney is one of those actors that almost everyone knows and he is a perfect fit for a Coen Brother's style movie, whether dramatic or comedic. - Tyler Brown
Roger Deakins
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Roger Alexander Deakins hails from England. He first began working with Ethan and Joel Coen in 1991 on Barton Fink. Deakins has stated that working on Barton Fink re-ignited his interest in cinematography. He becoming burnt out with the industry when he was first approached by the Coens, who happened to be in London at the time. Before he knew it he was on a plane to America.
The Coens and Deakins immediately formed a dynamic relationship that would carry on to what has become 10 films they have created together. Some speculate that working for two directors would be confusing and frustrating, but Deakins said “I realized very early on that they're so in sync with the work they do. It feels like you're dealing with one person, which makes things quite easy."
In 2000 he took on “O, Brother Where Art Thou” with Joel and Ethan. They decided to use some digitization to get the warm autumn look they were trying to achieve because everything was too green in Mississippi. The strict shooting schedule wouldn’t allow for them to delay production. He was nominated for an Oscar for this film, but was criticized by other cinematographers because the look was created on a computer instead on using real lenses. Deakins remarks on the irony of this “The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves."
“The Man Who Wasn’t There” was the first black and white Coen brothers film. Deakins, once again, served as cinematographer. Interestingly enough, it was actually shot in color because there was supposed to be a color release in Europe. It never happened, but Deakins says he would have done color shooting regardless because of the quality of film. The black and white stocks are incredibly outdated since they are rarely in use.
Roger Deakins clearly is the vision maker for all the complex concepts the Coens want to achieve. He continues to work with them to this day. Despite the frequent criticism their films are infamous for, it is obvious they communicate on a very artistic level that, more than likely, comes fluidly like an old married couple. In my opinion the abstract works and induces a more artistic thinking process if one allows themselves to be taken there, in any given Coen-made film. The more I see, the more I like. - Phoebe Jones
The Coens and Deakins immediately formed a dynamic relationship that would carry on to what has become 10 films they have created together. Some speculate that working for two directors would be confusing and frustrating, but Deakins said “I realized very early on that they're so in sync with the work they do. It feels like you're dealing with one person, which makes things quite easy."
In 2000 he took on “O, Brother Where Art Thou” with Joel and Ethan. They decided to use some digitization to get the warm autumn look they were trying to achieve because everything was too green in Mississippi. The strict shooting schedule wouldn’t allow for them to delay production. He was nominated for an Oscar for this film, but was criticized by other cinematographers because the look was created on a computer instead on using real lenses. Deakins remarks on the irony of this “The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves."
“The Man Who Wasn’t There” was the first black and white Coen brothers film. Deakins, once again, served as cinematographer. Interestingly enough, it was actually shot in color because there was supposed to be a color release in Europe. It never happened, but Deakins says he would have done color shooting regardless because of the quality of film. The black and white stocks are incredibly outdated since they are rarely in use.
Roger Deakins clearly is the vision maker for all the complex concepts the Coens want to achieve. He continues to work with them to this day. Despite the frequent criticism their films are infamous for, it is obvious they communicate on a very artistic level that, more than likely, comes fluidly like an old married couple. In my opinion the abstract works and induces a more artistic thinking process if one allows themselves to be taken there, in any given Coen-made film. The more I see, the more I like. - Phoebe Jones
Dreams
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The Coen brothers have a unique way of shooting different things. For instance, in "Blood Simple" Frances McDormand's character is standing up at one point and gives the illusion that she is falling into a bed. It is a very unusual shot. The Coen's are also good at staging dream sequences within their films. There are a couple of movies that feature dream sequences. "The Big Lebowski" and "The Man Who Wasn't There" are good examples to use.
"The Big Lebowski" has two different dream sequences. The first is when Dude is flying through the air until a bowling ball drops him to the ground. The second dream sequence is when the Dude is basically at a big bowling arena with Maude and teaches her how to bowl. These two sequences are really funny and help drive the plot forward. The second sequence is probably the most memorable because the Dude's facial expressions are priceless. It could also be concieved that it shows his interest in Maude.
"The Man Who Wasn't There" is a black-and-white film with only one dream sequence. Unlike in "The Big Lebowski," the dream sequence in "The Man Who Wasn't There" is about something that was mentioned earlier in the film. Billy Bob Thorton's character is on death row and one night he dreams he walks out of the prison building and sees an alien ship. The whole point of the dream sequence is that the alien ship symbolizes that we are not alone even though Billy Bob Thorton's character has always considered himself a loner.
Dream sequences are unique for every movie but the Coen's always seem to do something special with it. Whether it is in "The Big Lebowski" or "The Man Who Wasn't There," the dream sequences always helps explain the movie in some way , some how. - Tyler Brown
"The Big Lebowski" has two different dream sequences. The first is when Dude is flying through the air until a bowling ball drops him to the ground. The second dream sequence is when the Dude is basically at a big bowling arena with Maude and teaches her how to bowl. These two sequences are really funny and help drive the plot forward. The second sequence is probably the most memorable because the Dude's facial expressions are priceless. It could also be concieved that it shows his interest in Maude.
"The Man Who Wasn't There" is a black-and-white film with only one dream sequence. Unlike in "The Big Lebowski," the dream sequence in "The Man Who Wasn't There" is about something that was mentioned earlier in the film. Billy Bob Thorton's character is on death row and one night he dreams he walks out of the prison building and sees an alien ship. The whole point of the dream sequence is that the alien ship symbolizes that we are not alone even though Billy Bob Thorton's character has always considered himself a loner.
Dream sequences are unique for every movie but the Coen's always seem to do something special with it. Whether it is in "The Big Lebowski" or "The Man Who Wasn't There," the dream sequences always helps explain the movie in some way , some how. - Tyler Brown
John Goodman
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Although he is best known for his role as Dan Connor on the hit TV series "Roseanne", his acting legacy will be defined long after his death by the films he has appeared in directed by Joel and Ethan Coen. Goodman has acted in five of the Coen's films- "Raising Arizona" (1987), "Barton Fink" (1991), "The Big Lebowski" (1998), "O Brother, Where Art Thou?" (2000) and most recently "Inside Llewyn Davis" (2013). He also served as narrarator for "Hudsucker Proxy". When asked by a recent interview with Rolling Stone magazine, Goodman stated that his favorite character from his work was "Charlie", the jolly psychopathic killer, from the Coen's "Barton Fink".
- Michael Fish
- Michael Fish
Hair
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From the dapper pomade-slicked coif of Uysses Everett McGill in O Brother, Where Art Thou?, to the post-‘Nam buzz cut of Walter in The Big Lebowski, there is no shortage of insane hairstyles when it comes to Coen Brothers’ films. Every single film in the canon contains at least one notable hairdo, oftentimes there are multiple in the movie and sometimes even multiple styles for one character. The two characters with arguably the most outrageous hairstyles are, of course, Barton Fink and Anton Chigurh. There is even one film, The Man Who Wasn’t There, which could be said to be all about the hair. One critic calls the brothers’ filmography, “rich in idiotic hairstyles,” and claims that they make all attempts to, “obliterate the sex appeal of their supporting cast,” with the hair styles they choose.
The brothers do not tend to comment on their stylistic choices, and have not made any attempt to explain their choices in the hair department. However, the actors who have been subject to the Coen-ization of their hair have had a few things to say. According to Tilda Swinton (Burn After Reading), the cast, “had a competition going on for who had the most ridiculous hair. We were all going for the Javier Bardem prize.” As for Bardem (No Country for Old Men), he said: “It was just depressing to look in the mirror and see that haircut. I had to live with that! It wasn’t a wig. It was my hair! It was bad. It was really bad.”
The true purpose that the hair may hold in the films may remain a mystery but it does serve one overwhelming purpose: it is highly entertaining to behold. - Ashley Gabaldon
Works Cited
http://www.theglobeandmail.com/life/bad-hair-days-welcomed-on-set-of-coen-brothers-film/article715882/
http://grantland.com/hollywood-prospectus/five-haircuts-to-look-forward-to-in-the-coen-brothers-folk-music-movie/
http://www.vulture.com/2007/11/javier_bardem_still_mad_about.html
The brothers do not tend to comment on their stylistic choices, and have not made any attempt to explain their choices in the hair department. However, the actors who have been subject to the Coen-ization of their hair have had a few things to say. According to Tilda Swinton (Burn After Reading), the cast, “had a competition going on for who had the most ridiculous hair. We were all going for the Javier Bardem prize.” As for Bardem (No Country for Old Men), he said: “It was just depressing to look in the mirror and see that haircut. I had to live with that! It wasn’t a wig. It was my hair! It was bad. It was really bad.”
The true purpose that the hair may hold in the films may remain a mystery but it does serve one overwhelming purpose: it is highly entertaining to behold. - Ashley Gabaldon
Works Cited
http://www.theglobeandmail.com/life/bad-hair-days-welcomed-on-set-of-coen-brothers-film/article715882/
http://grantland.com/hollywood-prospectus/five-haircuts-to-look-forward-to-in-the-coen-brothers-folk-music-movie/
http://www.vulture.com/2007/11/javier_bardem_still_mad_about.html
Man behind the desk
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If you’ve ever found yourself on the opposite end of someone sitting behind a desk, chances are you’ve had to deal with incompetence at some point in time. Usually, this type of person has some kind of power over you, yet they seemingly have no idea what they’re actually doing. You might have asked yourself how such a person could have risen to this position of power. The Coen brothers seem to be wondering the same question. Incompetent yet powerful men behind desks is a motif that the duo often explores in their films.
In Miller’s Crossing, Leo (Albert Finney) serves as the head of a crime syndicate who doles out orders to his underlings from the comfort of his desk. While Leo may hold all the power, his right-hand man, Tom (Gabriel Byrne), does all the heavy thinking for him. When the duo’s relationship sours later in the film, Tom lends his head to another incompetent gangster behind a desk, Johnny Caspar (Jon Polito). Tom is able to raise Caspar’s influence over Tom’s, showing that neither man behind the desk possessed the knowledge to effectively control a crime syndicate.
The Coen brothers repeat this theme in The Big Lebowski through their titular character. When the film’s unlikely hero, the Dude (Jeff Bridges), first meets with the Big Lebowski (David Huddleston), the latter can be seen sitting behind a desk. While the Big Lebowski initially comes off as a rich and successful businessman, he is later revealed to be an incompetent fraud who squandered a fortune that he married into. But despite this realization, the Dude can do nothing because the Big Lebowski still holds more power than he does.
Idiocy abounds in Burn After Reading when several miscommunications lead to blackmail and murder. A CIA superior (J.K. Simmons) keeps an eye on the situation from the safety of his desk, but he never makes any kind of call that would help clear up the situation. In fact, by the end of the film he seems more confused about what has happened than any of the major characters.
The men behind desk motif expands to powerful men in the production business who don’t understand or appreciate the art they’re producing. Jack Lipnick (Michael Lerner) in Barton Fink hires Barton (John Turturro) on as a screenwriter for an upcoming wrestling flick. Lipnick is almost completely aware of both Barton’s previous artistic endeavors and his current lack of progress with the wresting film. Despite this, Barton is completely at his producer’s mercy.
In A Serious Man, Larry Gopnik (Michael Stuhlbarg) seeks out advice from a series of rabbis after his life spirals out of control. Each rabbi sits behind a desk and offers Larry no real solutions to his problems. In fact, the advice they give only seems to confuse Larry even more. Besides the rabbis, Larry himself represents a man behind a desk when he works his job as a physics professor at a university. Larry is supposed to be teaching with an authority on the subject matter, but as we later find out he himself is unclear about what is really going on. -Holden Belew
In Miller’s Crossing, Leo (Albert Finney) serves as the head of a crime syndicate who doles out orders to his underlings from the comfort of his desk. While Leo may hold all the power, his right-hand man, Tom (Gabriel Byrne), does all the heavy thinking for him. When the duo’s relationship sours later in the film, Tom lends his head to another incompetent gangster behind a desk, Johnny Caspar (Jon Polito). Tom is able to raise Caspar’s influence over Tom’s, showing that neither man behind the desk possessed the knowledge to effectively control a crime syndicate.
The Coen brothers repeat this theme in The Big Lebowski through their titular character. When the film’s unlikely hero, the Dude (Jeff Bridges), first meets with the Big Lebowski (David Huddleston), the latter can be seen sitting behind a desk. While the Big Lebowski initially comes off as a rich and successful businessman, he is later revealed to be an incompetent fraud who squandered a fortune that he married into. But despite this realization, the Dude can do nothing because the Big Lebowski still holds more power than he does.
Idiocy abounds in Burn After Reading when several miscommunications lead to blackmail and murder. A CIA superior (J.K. Simmons) keeps an eye on the situation from the safety of his desk, but he never makes any kind of call that would help clear up the situation. In fact, by the end of the film he seems more confused about what has happened than any of the major characters.
The men behind desk motif expands to powerful men in the production business who don’t understand or appreciate the art they’re producing. Jack Lipnick (Michael Lerner) in Barton Fink hires Barton (John Turturro) on as a screenwriter for an upcoming wrestling flick. Lipnick is almost completely aware of both Barton’s previous artistic endeavors and his current lack of progress with the wresting film. Despite this, Barton is completely at his producer’s mercy.
In A Serious Man, Larry Gopnik (Michael Stuhlbarg) seeks out advice from a series of rabbis after his life spirals out of control. Each rabbi sits behind a desk and offers Larry no real solutions to his problems. In fact, the advice they give only seems to confuse Larry even more. Besides the rabbis, Larry himself represents a man behind a desk when he works his job as a physics professor at a university. Larry is supposed to be teaching with an authority on the subject matter, but as we later find out he himself is unclear about what is really going on. -Holden Belew
Dialogue repetition
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The Coen Brothers have created many unique films. They are known for their genre-twisting storylines and outlandish characters. The dialogue in their films can sometimes be in your face. The Brother’s films often include repeated dialogue, a common occurrence among the main characters. The repetition adds emphasis and importance to what is being said which ultimately can reflect a person’s character. Often times it is merely for comedic relief, which adds humor to their most memorable scenes. Their film The Big Lebowski (1998) is one that tops the chart, having numerous lines of repeated dialogue. A story about a man seeking restitution for his stolen rug is a comedic journey fueled by witty sight gags and well-timed interjections, many of which are simple phrases that are used again and again throughout the film. Such memorable quotes from The Big Lebowski:
“Dude” “Shut the F—up, Donny!” “Is this your homework, Larry?”
“This is what happens when you— a stranger …” “They’re gonna kill that poor woman”
By the end of the film, you too will be saying “That rug really tied the room together”.
Other memorable scenes from The Coen Brother’s films include quirky lines from their 2000 release O Brother, Where Art Thou? such as “Damn! We’re in a tight spot!” and “I’m a Dapper Dan man” (Ulysses Everett McGill referring to his pomade of choice). Barton Fink, their 1991 drama, repeats a specific line: “I’ll show you the life of the mind”, which may seem vague at first, however, this repeated line is the puzzle piece needed to help the viewer understand the film more clearly. Taking to the humorous side again, the Minnesota setting for their 1996 film Fargo, truly sets the tone.The Coen Brothers referred back to their roots being born and raised in Minnesota. The dialogue for this film is a reflection and/or emphasis of how Minnesotans speak. There are definitely people out there that speak like the characters in Fargo. The use of such phrases: “Aw, Jeez”, “The heck do ya mean?” and “You’re darn, tootin”, give the story a light hearted tone to the overall dark theme. This balance of light and dark is something the Coen’s use in their work, whether serious or simply for humor. Nonetheless, repeated dialogue is a trademark of The Coen Brothers and can be expected in most, if not all of their films. - Mackenzie Tucker
“Dude” “Shut the F—up, Donny!” “Is this your homework, Larry?”
“This is what happens when you— a stranger …” “They’re gonna kill that poor woman”
By the end of the film, you too will be saying “That rug really tied the room together”.
Other memorable scenes from The Coen Brother’s films include quirky lines from their 2000 release O Brother, Where Art Thou? such as “Damn! We’re in a tight spot!” and “I’m a Dapper Dan man” (Ulysses Everett McGill referring to his pomade of choice). Barton Fink, their 1991 drama, repeats a specific line: “I’ll show you the life of the mind”, which may seem vague at first, however, this repeated line is the puzzle piece needed to help the viewer understand the film more clearly. Taking to the humorous side again, the Minnesota setting for their 1996 film Fargo, truly sets the tone.The Coen Brothers referred back to their roots being born and raised in Minnesota. The dialogue for this film is a reflection and/or emphasis of how Minnesotans speak. There are definitely people out there that speak like the characters in Fargo. The use of such phrases: “Aw, Jeez”, “The heck do ya mean?” and “You’re darn, tootin”, give the story a light hearted tone to the overall dark theme. This balance of light and dark is something the Coen’s use in their work, whether serious or simply for humor. Nonetheless, repeated dialogue is a trademark of The Coen Brothers and can be expected in most, if not all of their films. - Mackenzie Tucker
Roderick Jaynes
![Picture](/uploads/1/3/3/3/13332862/1470857.jpg?315)
Roderick Jaynes, an oscar nominated editor for “No Country for Old Men, is the best editor you have never seen. The reason you’ve never seen him, and never will, is because he is actually a pseudonym. He was made in the imaginations of Ethan and
Joel Coen as a joke. When everyone saw that the Coen brothers had an editor, they all wanted to know who was smart enough to edit the brothers’ films. Jaynes has also written introductions for the Coen brothers. The joke went so far that they were trying to figure out how to accept an award given to Jaynes. The brothers told reporters that Jaynes was very old, and didn’t get out of the house much. The brothers thought there were too many Coens in the credits of their films, so the used this pseudonym to add diversity. Little did they know Roderick would get a lot of attention. Roderick Jaynes joined the brothers in “Blood Simple” and has been with them ever since. They even thought of using Albert Finney, in disguise, to accept awards on Roderick’s behalf.
Roderick has his own biography, he currently resided in Sussex, and has a chow named Otto. It goes on to say that he is admired for his grooming and nude drawings of Margaret Thatcher. In 2001 there was an interview with Roderick. In the interview, Roderick tells how he was retired, and only came out of retirement to work with the Coen Brothers. He talks about how titles should be straightforwardly descriptive, without gimmicks. It is only fitting that someone like Joel and Ethan would create a whole person, with a background, just to play with us.. the audience. - Robert Livingston
Joel Coen as a joke. When everyone saw that the Coen brothers had an editor, they all wanted to know who was smart enough to edit the brothers’ films. Jaynes has also written introductions for the Coen brothers. The joke went so far that they were trying to figure out how to accept an award given to Jaynes. The brothers told reporters that Jaynes was very old, and didn’t get out of the house much. The brothers thought there were too many Coens in the credits of their films, so the used this pseudonym to add diversity. Little did they know Roderick would get a lot of attention. Roderick Jaynes joined the brothers in “Blood Simple” and has been with them ever since. They even thought of using Albert Finney, in disguise, to accept awards on Roderick’s behalf.
Roderick has his own biography, he currently resided in Sussex, and has a chow named Otto. It goes on to say that he is admired for his grooming and nude drawings of Margaret Thatcher. In 2001 there was an interview with Roderick. In the interview, Roderick tells how he was retired, and only came out of retirement to work with the Coen Brothers. He talks about how titles should be straightforwardly descriptive, without gimmicks. It is only fitting that someone like Joel and Ethan would create a whole person, with a background, just to play with us.. the audience. - Robert Livingston
Peter Kurland
![Picture](/uploads/1/3/3/3/13332862/3107416.jpg?222)
Peter F. Kurland has worked on every Coen Brothers film since their first film, Blood Simple (1984). Kurland worked with the Coen Brothers initially as a boom operator, and he continued in this role in Raising Arizona (1987), Miller’s Crossing (1990), Barton Fink (1991), The Hudsucker Proxy (1994), Fargo (1996), and The Big Lebowski (1998). While working with the Coen Brothers on all of their films, he was also working as a sound mixer for other directors. Following his success as a sound mixer in the films that he did with other directors such as Barry Sonnenfield, including Men in Black (Sonnenfield, 1997) and The Addams Family (Sonnenfield 1991), Kurland took over the sound mixing duties on the Coens’ films, including Oh Brother, Where Art Thou? (2001), The Man Who Wasn’t There (2001), Intolerable Cruelty (2003), The Ladykillers (2004), No Country for Old Men (2007), Burn After Reading (2008), A Serious Man (2009), True Grit (2010), and Inside Llewyn Davis (2013).
In an interview with Sound and Picture, Kurland said, “With Joel and Ethan, we’ve known each other for most of our lives. It very much feels like a family situation…It’s like a big reunion to work with them. The shooting schedule is brief and they only make one film every year or two, so it’s easy to say yes.” It certainly doesn’t hurt him that every Coen Brothers film that is made garners critical attention, and the sound ensembles the Coens put together are generally nominated for awards.
Kurland has received numerous award nominations, notably for his work with the Coen Brothers. He was nominated for an Oscar for Inside Llewyn Davis, No Country for Old Men, and True Grit. He also won a Grammy for his work on Oh Brother, Where Art Thou?. - Dylan Schrader
Works Cited
Daron. "Inside Llewyn Davis with Production Mixer Peter F. Kurland." Sound and Picture. Sound and Picture, 3 Feb. 2014. Web. 18 Feb. 2014.
"Filmmakers-Peter Kurland-Inside Llewyn Davis." Inside Llewyn Davis. CBS Films, n.d. Web. 18 Feb. 2014.
"Peter F. Kurland." IMDb. IMDb.com, n.d. Web. 18 Feb. 2014.
In an interview with Sound and Picture, Kurland said, “With Joel and Ethan, we’ve known each other for most of our lives. It very much feels like a family situation…It’s like a big reunion to work with them. The shooting schedule is brief and they only make one film every year or two, so it’s easy to say yes.” It certainly doesn’t hurt him that every Coen Brothers film that is made garners critical attention, and the sound ensembles the Coens put together are generally nominated for awards.
Kurland has received numerous award nominations, notably for his work with the Coen Brothers. He was nominated for an Oscar for Inside Llewyn Davis, No Country for Old Men, and True Grit. He also won a Grammy for his work on Oh Brother, Where Art Thou?. - Dylan Schrader
Works Cited
Daron. "Inside Llewyn Davis with Production Mixer Peter F. Kurland." Sound and Picture. Sound and Picture, 3 Feb. 2014. Web. 18 Feb. 2014.
"Filmmakers-Peter Kurland-Inside Llewyn Davis." Inside Llewyn Davis. CBS Films, n.d. Web. 18 Feb. 2014.
"Peter F. Kurland." IMDb. IMDb.com, n.d. Web. 18 Feb. 2014.
Money
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Pick a film made by the Coen brothers and you most likely will find the element of money. Even from the very first film the brothers produced, “Blood Simple,” to more a more popular one, such as “Fargo.” In “Blood Simple” the hired assassin collects $10,000 after “killing” Ray and Abby. Also, when Abby first finds Marty dead, she assumes Ray killed him because of a money dispute. In “Brother, Where Art Thou” three escaped convicts are on the hunt for treasure, wealth, financial security, MONEY.
“Miller’s Crossing” especially delves into humanity’s ever-growing need for money. Alliances are formed, friends are backstabbed, people are (supposedly) murdered, all for a little bit of money. The gangster with the most money is usually the one with the most respect. In “The Man Who Wasn’t There” again we see money causing our characters to act irrationally. Ed Crane finally finds something in his life he wants to invest in and needs $10,000 to do so. He decides blackmailing his wife’s lover, Big Dave, is the best method to go about retrieving this lump sum. This action eventually leads to him murdering Big Dave.
In “Barton Fink” the playwright sees success in New York with his play. He is offered a position in California to write screenplays for $1000 a week. Despite his reluctance, he takes the job in order to solve some financial issues. Essentially this need for money lands him in a hotel room right next to a serial killer and in a perpetual mental hell within the peeling walls of his hotel room. “A Serious Man” does not escape the black-hole money creates either. Larry has done everything by the books his entire life. When one of his foreign exchange students offers Larry money to give him a passing grade he initially refuses. As time passes Larry begins to find places he could really use an extra buck. That’s the way money tends to work though. Even when we think we have escaped it, it usually finds us. The Coens’ use their characters to demonstrate the extremes to which money can pervert the human mind and contort it into something unrecognizable.
- Phoebe Jones
“Miller’s Crossing” especially delves into humanity’s ever-growing need for money. Alliances are formed, friends are backstabbed, people are (supposedly) murdered, all for a little bit of money. The gangster with the most money is usually the one with the most respect. In “The Man Who Wasn’t There” again we see money causing our characters to act irrationally. Ed Crane finally finds something in his life he wants to invest in and needs $10,000 to do so. He decides blackmailing his wife’s lover, Big Dave, is the best method to go about retrieving this lump sum. This action eventually leads to him murdering Big Dave.
In “Barton Fink” the playwright sees success in New York with his play. He is offered a position in California to write screenplays for $1000 a week. Despite his reluctance, he takes the job in order to solve some financial issues. Essentially this need for money lands him in a hotel room right next to a serial killer and in a perpetual mental hell within the peeling walls of his hotel room. “A Serious Man” does not escape the black-hole money creates either. Larry has done everything by the books his entire life. When one of his foreign exchange students offers Larry money to give him a passing grade he initially refuses. As time passes Larry begins to find places he could really use an extra buck. That’s the way money tends to work though. Even when we think we have escaped it, it usually finds us. The Coens’ use their characters to demonstrate the extremes to which money can pervert the human mind and contort it into something unrecognizable.
- Phoebe Jones
Noir
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The film genre known as “noir” has been around since the early 1940s. Films that are classified as being noir, usually display these characteristics: crime fiction, cynicism, broodiness, shadowy low-keyed lighting, organized crime, political corruption, flawed heroes, flashbacks, narrators, and femme fatales (Britainnica.com). The intelligent Coen Brothers took a hold of these traits and adapted them into their films. Not only do the Coens display the genre notably well in their films, but they also take the genre and flip it upside down. From their debut film, Blood Simple (1984), to one of their most recent ventures, No Country for Old Men (2007), noir is a genre that the Coens love to play with
The Coens’ debut, Blood Simple, displayed characteristics of noir, but in a modern take, otherwise known as “neo-noir.” It had the usual noir aspects such as double-crossing, murder, an adulterous woman, and also, a narrator. The Coens do not include the well-known black and white noir look, but they do play with the shadows which is a norm in the realm of noir. There are shots of Visser (M. Emmett Walsh), having half-shadow and half-Texas sunshine draped upon him. There are also well-lighted billboards that stand against a dark desert backdrop, giving an eerie, mean vibe. Miller’s Crossing (1990) is a display of noir characteristics, while also dabbing into the gangster genre. The Coens painted their modern, noir world by using cloudy skies, men in dark clothing, hats that cover the faces of the men, and blackish blood. The Coens drew from the noir genre to create their visual atmosphere for the film, while the gangster genre inspired the plot of the film. Fargo (1996) is a dark crime drama that focuses on Jerry Lundegaard (William H. Macy), whose plan to strike it rich goes terribly awry. Jerry, the antagonist, orchestrates a plot to get rich by having some goons kidnap his wife, but the plan goes to hell, as his wife ends up murdered and he ends up in jail. The film’s primary protagonist, Marge (Frances McDormand), is different from the usual noir protagonist as she is not flawed and she is a happy future mother. Her relationship with her husband is great and with all of the darkness that accompanies the film, these two give the film a certain light of hope. Her relationship with her husband is great and with all of the darkness that accompanies the film, these two give the film a certain light of hope. The Coens capture the broodiness of this film not by the use of lighting, but by using huge snowy landscapes where it is hard to see into the distance. The Coens’ 2001 film, The Man Who Wasn’t There, is the first noir film where the Coens actually used only black and white. The film’s protagonist, Ed Crane (Billy Bob Thornton), is a flawed hero. His life is simple, but once he crosses over to the wrong side of the law, his life begins to spiral out of control. He blackmails James Gandolfini’s character, Big Dave, and then after a confrontation between the two, murders Big Dave. Ed is similar to Jerry as they organize their own crime plot, but it comes back and explodes in their face. Ed is a character that one can feel sorry for, though his pain is coming from his own hands. As in similar fashion to noir films, Ed dies from his choices as he is convicted of murder and is sentenced to death. No Country for Old Men (2007) is similar to Miller’s Crossing as it is a noir film that is being displayed within another genre. No Country for Old Men is a noir/western hybrid that uses long, distant desert shots to create a sense of darkness and bleakness that is similar to the Coens’ Blood Simple. Llewellyn Moss (Josh Brolin) is similar to Ed as he makes a decision that gets him on the wrong side of certain people. Llewellyn did not blackmail anyone, but he did steal a suitcase full of money that does not belong to him. Llewellyn suffers the same fate as Ed, except it was not the law that got him, it was the evil cartel that he stole from that puts him away. A distinct difference in this noir film, besides the other Coen noir films, is that the bad guy lives to fight another day and gets away with the many murders that he has committed. Anton Chigurh (Javier Bardem) is always one step ahead and this trait always helps him to survive.
The Coen Brothers are great with their use of the genre and the films above are prime examples. The Coens other films play with noir as well, such as The Big Lebowski (1998). The Coens know how to work with the genre and know how to transcend it. Not only can they display the genre’s key characteristics, but they can blend it within another genre, such as western. Their ways of being able to study a genre and bend it to their will is just another reason why the Coens are important, memorable filmmakers. - Jordan Lash
The Coens’ debut, Blood Simple, displayed characteristics of noir, but in a modern take, otherwise known as “neo-noir.” It had the usual noir aspects such as double-crossing, murder, an adulterous woman, and also, a narrator. The Coens do not include the well-known black and white noir look, but they do play with the shadows which is a norm in the realm of noir. There are shots of Visser (M. Emmett Walsh), having half-shadow and half-Texas sunshine draped upon him. There are also well-lighted billboards that stand against a dark desert backdrop, giving an eerie, mean vibe. Miller’s Crossing (1990) is a display of noir characteristics, while also dabbing into the gangster genre. The Coens painted their modern, noir world by using cloudy skies, men in dark clothing, hats that cover the faces of the men, and blackish blood. The Coens drew from the noir genre to create their visual atmosphere for the film, while the gangster genre inspired the plot of the film. Fargo (1996) is a dark crime drama that focuses on Jerry Lundegaard (William H. Macy), whose plan to strike it rich goes terribly awry. Jerry, the antagonist, orchestrates a plot to get rich by having some goons kidnap his wife, but the plan goes to hell, as his wife ends up murdered and he ends up in jail. The film’s primary protagonist, Marge (Frances McDormand), is different from the usual noir protagonist as she is not flawed and she is a happy future mother. Her relationship with her husband is great and with all of the darkness that accompanies the film, these two give the film a certain light of hope. Her relationship with her husband is great and with all of the darkness that accompanies the film, these two give the film a certain light of hope. The Coens capture the broodiness of this film not by the use of lighting, but by using huge snowy landscapes where it is hard to see into the distance. The Coens’ 2001 film, The Man Who Wasn’t There, is the first noir film where the Coens actually used only black and white. The film’s protagonist, Ed Crane (Billy Bob Thornton), is a flawed hero. His life is simple, but once he crosses over to the wrong side of the law, his life begins to spiral out of control. He blackmails James Gandolfini’s character, Big Dave, and then after a confrontation between the two, murders Big Dave. Ed is similar to Jerry as they organize their own crime plot, but it comes back and explodes in their face. Ed is a character that one can feel sorry for, though his pain is coming from his own hands. As in similar fashion to noir films, Ed dies from his choices as he is convicted of murder and is sentenced to death. No Country for Old Men (2007) is similar to Miller’s Crossing as it is a noir film that is being displayed within another genre. No Country for Old Men is a noir/western hybrid that uses long, distant desert shots to create a sense of darkness and bleakness that is similar to the Coens’ Blood Simple. Llewellyn Moss (Josh Brolin) is similar to Ed as he makes a decision that gets him on the wrong side of certain people. Llewellyn did not blackmail anyone, but he did steal a suitcase full of money that does not belong to him. Llewellyn suffers the same fate as Ed, except it was not the law that got him, it was the evil cartel that he stole from that puts him away. A distinct difference in this noir film, besides the other Coen noir films, is that the bad guy lives to fight another day and gets away with the many murders that he has committed. Anton Chigurh (Javier Bardem) is always one step ahead and this trait always helps him to survive.
The Coen Brothers are great with their use of the genre and the films above are prime examples. The Coens other films play with noir as well, such as The Big Lebowski (1998). The Coens know how to work with the genre and know how to transcend it. Not only can they display the genre’s key characteristics, but they can blend it within another genre, such as western. Their ways of being able to study a genre and bend it to their will is just another reason why the Coens are important, memorable filmmakers. - Jordan Lash
Plumbing
![Picture](/uploads/1/3/3/3/13332862/6225394.jpg?411)
The Coen Brothers have a tendency of using plumbing or bathrooms within their movies. Sometimes they use shots of plumbing in a metaphorical way. Other times they use plumbing as a central part of the plot, like in Blood Simple (1984) when Marty (Dan Hedaya) uses the bathroom to trick Visser (M. Emmet Walsh) by taking the wash hands sign on the wall to replace the photo he swapped.
Barton Fink (1991) features a moving camera shot that moves down a sink. This shot, while being interesting aesthetically, is also an overt sexual metaphor. Preceding the shot, Barton Fink (John Turturro) and Audrey (Judy Davis) are about to get it on. But in keeping with the era the film is replicating, they use a metaphor (much like Hitchcock’s shot of the train entering a tunnel in North by Northwest (1959).
The Big Lebowski (1998) features a couple of key scenes related to bathrooms, or to be more exact, The Dude’s (Jeff Bridges) bathroom. He is hassled about the Big Lebowski’s money twice in his bathroom. The first time his head is dunked in the toilet repeatedly. The scene shows aspects of The Dude’s character that haven’t been established yet, like how he doesn’t really fight back. Most male characters in a noir-inspired film wouldn’t take having their head dunked repeatedly in a toilet lightly, but The Dude doesn’t really do much about it. The second time he is hassled in a bathroom he is smoking a joint while taking a bath. Again, it is hard to picture Sam Spade (Humphrey Bogart in The Maltese Falcon), taking a warm bath at the end of a long day. He is then confronted by the Nihilists over the money. They threaten him by throwing a ferret in the tub with him (a Coenesque moment of dark humor). They then threaten to “cut off his Johnson.” Again, the dude doesn’t take action—he stays in the tub.
The Coens’ use of plumbing as an aesthetic, plot, and symbolic tool is something that is unique in their films. While other filmmakers might use a bathroom shot once, the Coens do so repeatedly. - Dylan Schrader
Barton Fink (1991) features a moving camera shot that moves down a sink. This shot, while being interesting aesthetically, is also an overt sexual metaphor. Preceding the shot, Barton Fink (John Turturro) and Audrey (Judy Davis) are about to get it on. But in keeping with the era the film is replicating, they use a metaphor (much like Hitchcock’s shot of the train entering a tunnel in North by Northwest (1959).
The Big Lebowski (1998) features a couple of key scenes related to bathrooms, or to be more exact, The Dude’s (Jeff Bridges) bathroom. He is hassled about the Big Lebowski’s money twice in his bathroom. The first time his head is dunked in the toilet repeatedly. The scene shows aspects of The Dude’s character that haven’t been established yet, like how he doesn’t really fight back. Most male characters in a noir-inspired film wouldn’t take having their head dunked repeatedly in a toilet lightly, but The Dude doesn’t really do much about it. The second time he is hassled in a bathroom he is smoking a joint while taking a bath. Again, it is hard to picture Sam Spade (Humphrey Bogart in The Maltese Falcon), taking a warm bath at the end of a long day. He is then confronted by the Nihilists over the money. They threaten him by throwing a ferret in the tub with him (a Coenesque moment of dark humor). They then threaten to “cut off his Johnson.” Again, the dude doesn’t take action—he stays in the tub.
The Coens’ use of plumbing as an aesthetic, plot, and symbolic tool is something that is unique in their films. While other filmmakers might use a bathroom shot once, the Coens do so repeatedly. - Dylan Schrader
The Quest
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The Coen Brothers have many motifs that frequent their films, some obvious like chasing money and others not so obvious like dogs or ringing telephones. Their most influential motif is by far the quest. Usually this is a quest for money, or in the case of O Brother Where Art Thou? It’s a quest that starts out for money and ends up being a long lost wife. Ulysses’ journey in that particular film is more than likely the most famous of the Coen’s “Quest” films, followed by No Country for Old Men. What defines a quest? There has to be an object of some sort… Money, girl, happiness… You name it. This object has to drive the plot and story of the film. This journey will determine each scene and how the characters react. This is the definition of a quest film (Watch Lord of the Rings if you want the Holy Bible of quest filming). In Fargo the main characters are on a quest for money, while other characters like the sheriff are on a quest to hunt down the murderers who are hunting down the money. See how it snowballs? In No Country for Old Men the main character is on a quest to escape with money he found while his predator is on a quest to find him and get the money back. All the while the sheriff is yet again on a quest to find them both due to local murders. In Burn After Reading the main character is on a quest for money as well which leads to others forming mini quests around this plotline. It can be concluded that the “Quest” motif is the most predominant theme in the Coen Brother’s films. - Brett Fish
Sam Raimi
![Picture](/uploads/1/3/3/3/13332862/1337973.png?335)
Sam Raimi is a director, producer, and actor most famous for directing the cult classic horror film Evil Dead as well as the Spiderman trilogy. Raimi has had a close and long-standing professional relationship with fellow filmmakers Joel and Ethan Coen since the filming of his first movie, Evil Dead (1981). Raimi was first introduced to Joel Coen when he was searching for an assistant director for his debut film. The two met and immediately hit it off. This marked the first of several Raimi/Coen collaborations. Raimi's second film, 1987's Crimewave, was co-written by both Joel and Ethan Coen. Raimi later returned the favor in 1994 by helping to write the Coen's big-budget film The Hudsucker Proxy. These were the only writing collaborations that the men have had to date, but they have also assisted each other in other ways.
As well as helping each other write screenplays, the men also have appeared in each others' works. The brothers each made a brief appearance in Raimi's Crimewave. Raimi has also had several cameos in Coen Brothers films including appearances in both The Hudsucker Proxy and Miller's Crossing. They also often have cast and crew overlap including actors Billy Bob Thornton and J.K. Simmons appearing in movies by both Raimi and the Coens.
There are also some stylistic and technical similarities among the men. Both Raimi and the Coens enjoy genre-bending and are known for taking on different genres in each of their films. Most all of their films have darkly humorous undertones and both have been accused of making audiences feel “out of the loop,” with their in-the-know style of humor. Their films often feature similar settings and character types. They are also technically similar with their fondness for shaky-cam and unique camera angles. - Ashley Gabaldon
http://www.themaninthemoviehat.com/sam-raimi-coen-brother-from-mother/
http://www.biography.com/people/sam-raimi-20716987?page=2
http://www.rottentomatoes.com/celebrity/sam_raimi/biography.php
As well as helping each other write screenplays, the men also have appeared in each others' works. The brothers each made a brief appearance in Raimi's Crimewave. Raimi has also had several cameos in Coen Brothers films including appearances in both The Hudsucker Proxy and Miller's Crossing. They also often have cast and crew overlap including actors Billy Bob Thornton and J.K. Simmons appearing in movies by both Raimi and the Coens.
There are also some stylistic and technical similarities among the men. Both Raimi and the Coens enjoy genre-bending and are known for taking on different genres in each of their films. Most all of their films have darkly humorous undertones and both have been accused of making audiences feel “out of the loop,” with their in-the-know style of humor. Their films often feature similar settings and character types. They are also technically similar with their fondness for shaky-cam and unique camera angles. - Ashley Gabaldon
http://www.themaninthemoviehat.com/sam-raimi-coen-brother-from-mother/
http://www.biography.com/people/sam-raimi-20716987?page=2
http://www.rottentomatoes.com/celebrity/sam_raimi/biography.php
Barry Sonnenfeld
![Picture](/uploads/1/3/3/3/13332862/7396208.jpg?322)
Director Barry Sonnenfeld has been in cinema for over thirty years now, in a different array of jobs, such as cinematography and producing. Sonnenfeld is probably well-known the most for directing the Men in Black trilogy, but before his directing career kicked off, he was a cinematographer for several of the Coen Brothers’ films. The first film that Sonnenfeld collaborated with the Coens was Blood Simple (1984), and then he later controlled the camera again for the Coens on Raising Arizona (1987) and Miller’s Crossing (1990). Blood Simple also happened to be the first feature film that Sonnenfeld had ever worked on. Sonnenfeld’s work with the Coens helped him to establish his style for his own career.
Sonnenfeld met one of the Coen Brothers, Joel, at a film alum party in New York. Joel and Ethan had just finished the script to Blood Simple and the Coens decided to let Sonnenfeld work with them on the film. Sonnenfeld shot the trailer for the film, which the Coens used to raise money to make the film. When the Coens finally received the money, Sonnenfeld was used as the cinematographer. Many of Sonnenfeld’s shots in the film were wide, flattening his images to heighten every suspenseful scene. It also helped the audience to be able to notice everything in one shot. In Raising Arizona, Sonnenfeld created his energetic style as he used the camera to lurch over beverages, whirl through the various sets, and move constantly up in the air until eventually it would have to come back down to Earth. The camera is so active in the film that it could be considered a character. Miller’s Crossing is the only film where Sonnenfeld’s camera is not energetic. Sonnenfeld did not use wide lenses in this film, instead he used long. The Coens and Sonnenfeld wanted the film to not look goofy, so wide lenses were abandoned to make the film look serious. Miller’s Crossing was the last film that Sonnenfeld worked on with the Coens, besides producing their remake of the 1955 film, The Ladykillers. - Jordan Lash
Works Cited Page
Barry Sonnenfeld. Imdb. Web. 17 Feb. 2014.
Shooting the Coen Brothers’ “Miller’s Crossing”- A Conversation with Barry Sonnenfeld. Filmmaker IQ,
2 Sept. 2013. Web. 17 Feb. 2014.
VanAirsdale, S.T. The Coens Were Never Better Than with Barry Sonnenfeld. Village Voice, 29 July 2008.
Web. 17 Feb. 2014.
Sonnenfeld met one of the Coen Brothers, Joel, at a film alum party in New York. Joel and Ethan had just finished the script to Blood Simple and the Coens decided to let Sonnenfeld work with them on the film. Sonnenfeld shot the trailer for the film, which the Coens used to raise money to make the film. When the Coens finally received the money, Sonnenfeld was used as the cinematographer. Many of Sonnenfeld’s shots in the film were wide, flattening his images to heighten every suspenseful scene. It also helped the audience to be able to notice everything in one shot. In Raising Arizona, Sonnenfeld created his energetic style as he used the camera to lurch over beverages, whirl through the various sets, and move constantly up in the air until eventually it would have to come back down to Earth. The camera is so active in the film that it could be considered a character. Miller’s Crossing is the only film where Sonnenfeld’s camera is not energetic. Sonnenfeld did not use wide lenses in this film, instead he used long. The Coens and Sonnenfeld wanted the film to not look goofy, so wide lenses were abandoned to make the film look serious. Miller’s Crossing was the last film that Sonnenfeld worked on with the Coens, besides producing their remake of the 1955 film, The Ladykillers. - Jordan Lash
Works Cited Page
Barry Sonnenfeld. Imdb. Web. 17 Feb. 2014.
Shooting the Coen Brothers’ “Miller’s Crossing”- A Conversation with Barry Sonnenfeld. Filmmaker IQ,
2 Sept. 2013. Web. 17 Feb. 2014.
VanAirsdale, S.T. The Coens Were Never Better Than with Barry Sonnenfeld. Village Voice, 29 July 2008.
Web. 17 Feb. 2014.
John Turturro
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John Turturro, an Italian America actor from Brooklyn, has acted in four Coen brothers films and has been involved with the duo in one of his own films. Turturro first started working with the two filmmakers in 1990, where he played Bernie Bernbaum, a fast-talking crooked bookie in the gangster flick Miller’s Crossing. The Coen brothers often write parts for their friends. They had gotten to know Turturro through Frances McDormand, whom Turturro had attended school with. According to Turturro himself, the Coens had written the part of Bernie Bernbaum specifically for him after watching him perform in several plays.
Immediately after shooting Miller’s Crossing, the Executive Producer of the film approached Turturro with the titular role in the next Coen fim, Barton Fink (1991). Joel Coen has been cited as saying that part of this decision was based on wanting to cast John Turturro in a film alongside John Goodman. Turturro’s practiced his role as Barton Fink, a neurotic and narcissistic playwright who moves to Hollywood, by going to secretarial school to learn typing. While honing his typical skills on set, Turturro came up with the idea for his 2005 film Romance & Cigarettes, a film which the Coens would help produce. Turturro’s role in Barton Fink won him the Best Actor award from the 1991 Cannes Film Festival.
In 1998, Turturro played a minor role in the Coens’ cult classic, The Big Lebowski. His portrayal of Jesus Quintana, a bowler and possible sexual predator who dresses in purple and refers to himself as “The Jesus”, has since become a popular cult character. Turturro has expressed interest in working with the Coen brothers to produce a spin-off revolving around his character, but he admits that the chances are fairly unlikely.
Two years after the release of The Big Lebowski, Turturro worked with the Coens for a fourth time when he co-starred in O Brother, Where Art Thou alongside Tim Blake Nelson and George Clooney. In the film, which is a loose adaptation of Homer’s Odyssey, Turturro plays the role of Pete Hogwollop, a convict who has escaped from a chain gang with two of his fellow prisoners.
Although Turturro has not acted for the Coen brothers since O Brother, Where Art Thou, the duo plans to utilize him again in a sequel to Barton Fink. The film, currently known as Old Fink, would take place several years after the events of the first film. The setting would likely fall somewhere between the 60s and the 70s. However, the Coens have also stated that filming would not begin on Old Fink until Turturro had aged enough to play the part.
Works Cited
Coen, Ethan and Joel Coen. “Brothers’ Keepers”. Interview by Alex Simon. The Hollywood Interview. The Hollywood Interview, 20 Nov. 2012. Web. 18 Feb. 2014.
“John Turturro.” IMDb. IMDb.com, Inc., n.d. Web. 18 Feb. 2014.
Turturro, John. Interview by Sean O’Neal. A.V. Club. Onion, Inc., 28 Jun. 2011. Web. 18 Feb. 2014.
Immediately after shooting Miller’s Crossing, the Executive Producer of the film approached Turturro with the titular role in the next Coen fim, Barton Fink (1991). Joel Coen has been cited as saying that part of this decision was based on wanting to cast John Turturro in a film alongside John Goodman. Turturro’s practiced his role as Barton Fink, a neurotic and narcissistic playwright who moves to Hollywood, by going to secretarial school to learn typing. While honing his typical skills on set, Turturro came up with the idea for his 2005 film Romance & Cigarettes, a film which the Coens would help produce. Turturro’s role in Barton Fink won him the Best Actor award from the 1991 Cannes Film Festival.
In 1998, Turturro played a minor role in the Coens’ cult classic, The Big Lebowski. His portrayal of Jesus Quintana, a bowler and possible sexual predator who dresses in purple and refers to himself as “The Jesus”, has since become a popular cult character. Turturro has expressed interest in working with the Coen brothers to produce a spin-off revolving around his character, but he admits that the chances are fairly unlikely.
Two years after the release of The Big Lebowski, Turturro worked with the Coens for a fourth time when he co-starred in O Brother, Where Art Thou alongside Tim Blake Nelson and George Clooney. In the film, which is a loose adaptation of Homer’s Odyssey, Turturro plays the role of Pete Hogwollop, a convict who has escaped from a chain gang with two of his fellow prisoners.
Although Turturro has not acted for the Coen brothers since O Brother, Where Art Thou, the duo plans to utilize him again in a sequel to Barton Fink. The film, currently known as Old Fink, would take place several years after the events of the first film. The setting would likely fall somewhere between the 60s and the 70s. However, the Coens have also stated that filming would not begin on Old Fink until Turturro had aged enough to play the part.
Works Cited
Coen, Ethan and Joel Coen. “Brothers’ Keepers”. Interview by Alex Simon. The Hollywood Interview. The Hollywood Interview, 20 Nov. 2012. Web. 18 Feb. 2014.
“John Turturro.” IMDb. IMDb.com, Inc., n.d. Web. 18 Feb. 2014.
Turturro, John. Interview by Sean O’Neal. A.V. Club. Onion, Inc., 28 Jun. 2011. Web. 18 Feb. 2014.