Joel Coen
Joel Coen
Joel David Coenand Ethan Jesse Coen, collectively referred to as the Coen brothers, are American filmmakers. Their films span many genres and styles, which they frequently subvert or parody. Their films include Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Fargo, The Big Lebowski, O Brother, Where Art Thou?, No Country for Old Men, Burn After Reading, True Grit, and Hail, Caesar!...
NationalityAmerican
ProfessionDirector
Date of Birth29 November 1954
CountryUnited States of America
The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them.
I couldn't have been happier with the relationship we had with Disney, it couldn't have been easier.
It was sort of imagining him in the context of a (Raymond) Chandler kind of story that got us started on the script.
You want to keep it fresh and you hopefully can keep doing new stuff that's going to continue to stimulate and keep people interested.
Maybe our telling of the story wasn't as clear as it should have been, but I don't think that's true. In terms of understanding the story, it comes across.
No, we don't have an obsession with kidnapping. We just follow the story wherever it leads us, and if it leads us to kidnapping, well there we are!
When you do a writing job for a studio, one of the things you want to do is satisfy the expectations of your employer. That's a little bit different than when you sit down and write something to satisfy yourself, because then you're the employer.
We were walking a fine line, making it a sort of challenge for audiences to figure out what's going on without clues except what you're listening to, but at the same time, we wanted to make sure we didn't leave the audience completely at sea. I'm still not sure which bucket we finally tipped it into.
Usually, I don't want to sit down and listen to the director gas on about his movie. I just can't actually imagine myself sitting down and having that much to say.
When we do a movie with the studios, they wouldn't be asking us to do it, I don't think, if it was a movie they wanted to get into themselves. What you see is what you get with us, so they let us do what we want to do.
I've never really understood that. It's a funny thing; people sometimes accuse us of condescending to our characters somehow-that to me is kind of inexplicable.
I guess it beats throwing trash for a living.
You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.
We create monsters and then we can't control them.