Joel Coen Quotes

Frequently we are writing characters and we are thinking, "Wouldn`t it be interesting to see such and such play this kind of a person?", and the character starts to grow out of that as you are writing it. It`s a combination of things that you are making up and what you know about the actor.

It`s a funny thing; people sometimes accuse us of condescending to our characters somehow - that to me is kind of inexplicable.

(on filmmaking) I can almost set my watch by how I`m going to feel at different stages of the process. It`s always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you`re very excited by it and very optimistic about how it`s going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

I hate when people cry in movies. It`s particularly disconcerting when you`re sitting at a really awful movie and you hear people all around you sobbing and blowing their noses.

We`ve never considered our stuff either homage or spoof. Those are things other people call it, and it`s always puzzled me that they do.

The bigger stars we`ve worked with have been without the movie-star vanities or meshugaas that you read about and dread. (George Clooney), for example, was the opposite. He has no entourage. He`s a big movie star, but a nice guy.

(Ethan Coen) had a nightmare of one day finding me on the set of something like The Incredible Hulk (2008), wearing a gold chain and saying, "I`ve got to eat, don`t I?"

(Ethan Coen) once described the way we worked together as: one of us types into the computer while the other holds the spine of the book open flat. That`s why there needs to be two of us - otherwise he`s gotta type one-handed. That`s how you "collaborate" with someone else.

It`s almost like a genre rule: Don`t Open The Box.

We have an uncanny ability to make birds do what we want them to do. In Blood Simple there`s a shot from the bumper of a car and it`s going up this road and a huge flock of birds takes off at the perfect moment.

People that have been interested in our work for awhile... those are the last people you want to disappoint.

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.

Maybe there should be less of a mystique around making movies. I just don`t think that there`s any real mystery there.

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!

If the material is challenging, it forces you to challenge yourself when handling it.

I`d be perfectly happy never to have to answer anything again about how I work with Ethan, or whether we have arguments, or... you know what I mean? I`ve been answering those questions for 20 years. I suppose it`s interesting to people.

Other kinds of movie stars, it`s a different thing, they bring their persona to the part and that`s what people like to see, and they are not really transforming in terms of their character.

The architecture of a story can be a little bit different if it`s a true story.

Ethan once described the way we worked together as: one of us types into the computer while the other holds the spine of the book open flat. That`s why there needs to be two of us - otherwise he`s gotta type one-handed. That`s how you `collaborate` with someone else.

Barton Fink got written very quickly, in about three weeks. I don`t know what that means.

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.

The point at which we worked with some of these actors, they weren`t really stars yet. Nicolas Cage was not a big star when we did Raising Arizona. A lot of these people were also virtually unknown, too, when we worked with them first.

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.

Some people come out going, I don`t get it. And I don`t quite know what they`re trying to get, what they`re struggling for. We have had the reaction where people leave the movie sort of uncomfortable and befuddled. Although that wasn`t our intention.

I guess it beats throwing trash for a living.

The bigger stars we`ve worked with have been without the movie-star vanities or meshugaas that you read about and dread. Clooney, for example, was the opposite. He has no entourage. He`s a big movie star, but a nice guy.

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.

Frequently we are writing characters and we are thinking, `Wouldn`t it be interesting to see such and such play this kind of a person`, and the character starts to grow out of that as you are writing it. It`s a combination of things that you are making up and what you know about the actor.

You see a moral in them? Do we have morals?

Ethan had a nightmare of one day finding me on the set of something like `The Incredible Hulk`, wearing a gold chain and saying, `I`ve got to eat, don`t I?`

You`re doing it to make the character as specific as possible, so that it`s a specific individual that you`re talking about, not that whole class of people.

I always admired Stanley Kubrick for the fact that he managed to beat the system somehow. I think he kind of had it all figured out.

I guess there`s a certain amount of poking fun at certain characters, but that`s because there is something amusing about them or about the way they behave, so I guess you can say that that`s poking fun at the character. But the character is your own invention, so who cares?

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.

We create monsters and then we can`t control them.

The question is: Where would it get you if something that`s a little bit ambiguous in the movie is made clear? It doesn`t get you anywhere.

These things are hard to pin down. We work on a script a bit, then work on a different one.

We`ve been remarkably lucky in that we`ve been free to make the movies we`ve wanted to make the way we`ve wanted to make them. They`ve all been made for a price.

It`s a funny thing because you look at the careers of other filmmakers, and you see them sort of slow down, and you realize, maybe this becomes harder to do as you get older. That`s sort of a cautionary thing. I hope it doesn`t happen to me.

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.

Billy Bob and Fran are very well known actors, but aren`t the kind of movie stars in the sense that George Clooney and Brad Pitt are.

I couldn`t have been happier with the relationship we had with Disney, it couldn`t have been easier.

(On film-making) I can almost set my watch by how I`m going to feel at different stages of the process. It`s always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you`re very excited by it and very optimistic about how it`s going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

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.

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.