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
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.
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.
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.
I couldn't have been happier with the relationship we had with Disney, it couldn't have been easier.
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.
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.
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.
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!
Maybe there should be less of a mystique around making movies. I just don't think that there's any real mystery there.
It's almost like a genre rule: Don't Open The Box.
The architecture of a story can be a little bit different if it's a true story.
These things are hard to pin down. We work on a script a bit, then work on a different one.
Barton Fink got written very quickly, in about three weeks. I don't know what that means.
You see a moral in them? Do we have morals?