Coen Brother Quotes

It's a fool that looks for logic in the chambers of the human heart.

Well, ain't it a small world, spiritually speaking? Pete and Delmar just been baptized and saved. I guess I'm the only one that remains unaffiliated.

The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or Man of the Year--something can always go wrong. You go ahead, complain, tell your problems to your neighbor, ask for help-- and watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else--that's the theory, anyway. But what I know about is Texas, and down here... you're on your own.

Hold it right there. You men from the bank?" "You Wash's boy?" "Yessir and Daddy told me I'm to shoot whoever's from the bank." "Well, we ain't from the bank young feller." "Yessir, I'm also s'posed to shoot folks serving papers." "We ain't got no papers neither." "I nicked the census man." "Now there's a good boy.

The Coen brothers, who in 2009 made the movie A Serious Man, a retelling of the story of Job in modern dress,

All of the above,” Yael stated. “No kissing, no sex, and no corruption. Nothing that goes past friendship. From now on, we treat her like one of us. A sixth brother. A sixth girl-brother—” “A sister?” Coen interrupted, his face creasing up in disgust. “No.” Yael shook his head. “Fuck no. A girl-brother.” “That sounds like a sister—” “A girl-brother and that’s final!” Yael snapped.

Don't let your prejudice blind your judgement, brother.

All of the above," Yael stated. "No kissing, no sex, and no corruption. Nothing that goes past friendship. From now on, we treat her like one of us. A sixth brother. A sixth girl-brother--" "A sister?" Coen interrupted, his face creasing up in disgust. "No." Yael shool his head. "Fuck no. A girl-brother." "That sounds like a sister --" "A girl-brother and that's final!" Yael snapped.

What's the move when you don't know what the game is?

With every movie that they do, they’ll come up with a few films they really like and we’ll talk about them. Way back when we did Barton Fink, Joel and Ethan would say, ’Think Kubrick!

I think the Coens are great film editors. So great! It’s funny to me because they get hired to doctor scripts all the time, but no one ever hires them to edit.

What’s your favorite movie?” “Anything by the Coen brothers. My favorite is Oh Brother, Where Art Thou?” He looks at me like maybe he has no clue what movie I’m talking about. But then he says, “We thought . . . you was . . . a toad.” I laugh. “Damn! We’re in a tight spot!” “Jesus Saves, George Nelson withdraws!” We’re both laughing now.

An “event” is something that happens that does not quite fit into our established system of knowledge, and so it will appear to us as something unaccountable, something that we cannot quite get our minds around even as we recognize the great importance of the encounter. Badiou identifies

Goodman, a friend of the Coens since he worked with them on their second movie, Raising Arizona, laughed about the scene where William Macy tried to escape out of a motel window, only to be dragged back inside by the cops. “Macy in his underwear,” Goodman said, giggling. “That’s our answer to everything,” Ethan said. “You need a dramatic fall, put a character in his undies.

The mood at the ‘Putin Party’ is a mix of feudal poses and arch, postmodern irony: the sucking-up to the master completely genuine, but as we’re all liberated twenty-first-century people who enjoy Coen Brothers films, we’ll do our sucking up with an ironic grin while acknowledging that if we were ever to cross him we would quite quickly be dead. So,

Fargo was a vicious little crime drama shot on a shoestring budget. Ethan’s college friend, William Robertson, begged the brothers not to make it: You’ve just had a huge flop, now you want to make a crime drama set in North Dakota? Nobody will watch it,

They talked about Brando. Bridges said that his brother, Beau, once worked with Brando and the great actor said, “I want to have eye contact with you, do you mind putting the lines on your forehead?

Michael Gambon, the British actor best known in the States for Dennis Potter’s The Singing Detective (and later for playing professor Albus Dumbledore in the final six Harry Potter movies), was a contender for the role of the Big Lebowski. Joel had met him in New York, Ethan said, “Yeah, he’s … a good actor and we have a mutual friend and he’s supposed to be perfectly pleasant to work with …” “But?” “But …” Gambon was British. The idea didn’t seem … right, not for a real Pasadena guy.

Turturro is coming in to play the pederast," Joel said. "He said he’d do his best F. Murray Abraham.

When I drew back, Coen’s stone-chip eyes locked onto mine like a predator to his prey, and I could feel the faint vibration of his growl as it passed from his chest to mine. Instinct took over and I leaned closer to snuggle my face into that spot between his shoulder and neck. His body shuddered beneath mine, the hands on my back tightening. “You have to surrender, Rocks. I can’t stop until you do.” There was pleading in his voice, and as I pulled back, I opened my mouth and closed it just as quickly, before shaking my head. I put my hand on my throat to tell him that I couldn’t surrender, even if I wanted to. Can’t speak. More than one growl sounded from around me then, and I knew that the other brothers had heard my thought. Coen swung us around so that he could glare up at the glass box, and then his voice slipped out into the air around us. “Close your eyes.” Our stare held for an eternity, and I was relieved to see that he was as unhappy about what was happening as I was. I gave him a quick head nod, and closed my eyes, mostly trusting that I would make it through this. My feet gently hit the sand as Coen took my face into both of his hands, the tingling pain started quickly, and increased to the point where I wanted to cry out, but thankfully, with a quick snap of energy, darkness took me.

You seek a great fortune, ye who are now in chains. You will find a fortune, though it will not be the one you seek. But first...first you must travel a long and difficult road, a road fraught with peril. Mm-hmm. You shall see thangs, wonderful to tell. You shall see a...a cow...on the roof of a cotton house, ha. And, oh, so many startlements. I cannot tell you how long this road shall be, but fear not the obstackles in your path, for fate has vouchsafed your reward. Though the road may wind, yea, your hearts grow weary, still shall ye follow them, even unto your salvation. As spoken by the Blind Seer in the Coen Brothers Movie, O Brother Where Art Thou?

As i write, Danny Boyle and the Coen brothers sit on my left shoulder approving each word as I go. Whereas on my right shoulder sits my Mum, with a look of disapproval on her face. But she loves it really.

This really was the start of a period where me, Barney and Steve would all be meeting bands and getting into producing them. Barney did Section 25, Happy Mondays. Steve and Gillian produced Thick Pigeon (who, incidentally, were Stanton Miranda, Michael Shamberg’s girlfriend, and Carter Burwell, who later made his name scoring films for the Coen Brothers).

The future was certain, only the past was unpredictable. I wanted to attribute that quote to Lenin. In fact, it was something David Thewlis said as V. M. Varga, archvillain of the uneven third season of the TV reboot of the Coen brothers’ movie Fargo. The attribution was Varga’s, and if memory served, the person to whom he said it had questioned the veracity of the quote.

...the same six faces. All male. All white. All over sixty. Not exactly the great and the good of Rustington. But the guys who pulled strings. The guys that had made good. Five check shirts buttoned to the collar. No tie. And Brad at the Head. But Brad wore a tie, and a crisp white Oxford shirt. Dark suit. Highly polished black shoes.' The first time James attended he thought he had inadvertently walked onto a Coen Brothers movie set.

Hey..,Miller bottles clink whilst shrugs towards the strange cowboy, The Dude abides!

Filmmakers as different as Tim Burton, Quentin Tarantino, the Coen brothers, and Harmony Korine have been called Lynchian. And the concept is by no means confined to cinema. The self-reflexive fictions of the Chilean novelist Roberto Bolaño and the twisty, mythology-driven television series Lost have been termed Lynchian.

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