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The Coens met filmmaker John Milius when they were in Los Angeles making Barton Fink and incorporated his love of guns and the military into the character of Walter.
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Coens and John
The character of Jesus Quintana was inspired, in part, by a performance the Coens had seen John Turturro give in 1988 at the Public Theater in a play called Mi Puta Vida in which he played a pederast-type character, " so we thought, let's make Turturro a pederast.
In the original script, the Dude's car was a Chrysler LeBaron, as Dowd once owned, but that car was not big enough to fit John Goodman so the Coens changed it to a Ford Torino.
Coens and when
Problems occurred when the Coens and cinematographer Roger Deakins decided that these shots would be more effective with a wide-angle lens.
Coens and they
When they started writing the script, the Coens wrote only 40 pages and then let it sit for a while before finishing it.
While the Coens were writing the screenplay they had Kenny Rogers ' " Just Dropped In ( to See What Condition My Condition Was in )", the Gipsy Kings ' cover of " Hotel California ", and several Creedence Clearwater Revival songs in mind.
It was important to the Coens to find a neighborhood of original-looking suburban rambler homes as they would have appeared in St. Louis Park in the mid-1960s, and after careful scouting they opted to film scenes in a neighborhood of nearby Bloomington.
The first image the Coens and Raimi conceived was of Norville Barnes about to jump from the window of a skyscraper and then they had to figure out how he got there and how to save him.
Coens and were
The main reason for the film's setting is the fact that the Coens were born and raised in St. Louis Park, a suburb of Minneapolis.
In 2012 it was announced that FX were developing a new TV series with the Coens as executive producers.
The Coens and Raimi were inspired by the films of Preston Sturges, such as Christmas in July ( 1940 ) and the Hollywood satire, Sullivan's Travels.
As early as 1985, the Coens were quoted as saying that an upcoming project " takes place in the late Fifties in a skyscraper and is about Big Business.
" After completing Barton Fink ( 1991 ), the Coens were looking forward to doing a more mainstream film.
Selections from Burwell's score to Raising Arizona were released on an album in 1987, along with selections from the Coens ' previous ( and first ) feature film, Blood Simple.
Coens and making
borrows the title and has many plot similarities to Sullivan's Travels ; on the special-edition DVD the Coens say the film is almost what Sullivan would have ended up making after Sullivan's Travels ends.
Coens and Barton
Additionally, she contributed an uncredited offscreen ( voice only ) appearance to the opening scene in the Coens ' Barton Fink.
Coens and into
When Pete Exline told them about the homework in a baggie incident, the Coens thought that that was very Raymond Chandler-esque and decided to integrate elements of the author's fiction into their script.
Randall " Tex " Cobb gave the Coens difficulty on set, with Joel noting that " he's less an actor than a force of nature ... I don't know if I'd rush headlong into employing him for a future film.
Coens and Walter
Exline became friends with the Coens and, in 1989, told them all kinds of stories from his own life, including ones about his actor-writer friend Lewis Abernathy ( one of the inspirations for Walter ), a fellow Vietnam vet who later became a private investigator and helped him track down and confront a high school kid who stole his car.
Coens and .
Exline also belonged to an amateur softball league but the Coens changed it to bowling in the movie because " it's a very social sport where you can sit around and drink and smoke while engaging in inane conversation ," Ethan said in an interview.
The Coens decided to make Fargo in the meantime.
For the film's look, the Coens wanted to avoid the usual retro 1960s clichés like lava lamps, Day-Glo posters, and Grateful Dead music and for it to be " consistent with the whole bowling thing, we wanted to keep the movie pretty bright and poppy ", Joel said in an interview.
Cinematographer Roger Deakins discussed the look of the film with the Coens during pre-production.
For example, " Tumbling Tumbleweeds " by Bob Nolan was chosen for the Stranger at the time the Coens wrote the screenplay, as was " Lujon " by Henry Mancini for Jackie Treehorn.
" USA Today gave the film three out of four stars and felt that the Dude was " too passive a hero to sustain interest ", but that there was " enough startling brilliance here to suggest that, just like the Dude, those smarty-pants Coens will abide.
In his review for the Washington Post, Desson Howe praised the Coens and " their inspired, absurdist taste for weird, peculiar Americana – but a sort of neo-Americana that is entirely invented – the Coens have defined and mastered their own bizarre subgenre.
" In a five star review for Empire Magazine, Ian Nathan wrote, " For those who delight in the Coens ' divinely abstract take on reality, this is pure nirvana " and " In a perfect world all movies would be made by the Coen brothers.
But insofar as it represents a moral position – and the Coens ' relative styling of their figures invariably does – it's an elitist one, elevating salt-of-the-earth types like Bridges and Goodman ... over everyone else in the movie.
If the project got off the ground, the Coens would not direct it, but may have a part in writing it.
Because of the intricate, dense plot, the Coens suffered from writer's block while working on the script.
The budget was reported by film industry magazines as $ 14 million, but the Coens claimed in interviews that it was only $ 10 million.
The Coens cast family and friends in minor roles.
Sam Raimi, director and friend of the Coens, appears as the snickering gunman at the siege of the Sons of Erin social club, while Frances McDormand, Joel Coen's wife, appears as the Mayor's secretary.
met and filmmaker
In a piece about the film in an October 1999 issue of Premiere, Hughes stated that due to his lack of experience as a filmmaker, his appeal to direct was met with resistance and skepticism.
His father's background helped his career: the elder Bertolucci had helped the Italian filmmaker Pier Paolo Pasolini publish his first novel, and Pasolini reciprocated by hiring Bertolucci as first assistant in Rome on Accattone ( 1961 ), where he met his first wife, Adriana Asti.
Egyptian filmmaker Essam Deraz, " bin Laden's first biographer ," met bin Laden in the " Lion's Den " training camp in Afghanistan and complained that the Egyptians " formed a barrier " around bin Laden and " whenever he tried to speak confidentially to bin Laden, the Egyptians would surround the Saudi and drag him into another room ".
While in residency at a Melbourne hospital, he met amateur filmmaker Byron Kennedy at a summer film school in 1971.
In Berlin, Tykwer met and befriended the filmmaker Rosa von Praunheim, who urged him to create stories from his own experience and suggested that Tykwer record arguments with his girlfriend at the time, and turn them into a short film.
Around this time, Anger also began attending the screenings of silent films held at Clara Grossman's art gallery, through which he met a fellow filmmaker, Curtis Harrington, and together they formed Creative Film Associates ( CFA ).
In 2005, she started a relationship with filmmaker Harry Holm ( the son of actor Ian Holm ), shortly after she met him when Holm directed her in a video for the band The Victims.
Leticia was chosen as the principal filming location after Deodato met a Colombian documentary filmmaker at the airport in Bogotá, who suggested the town as a location ideal for filming.
In March 1965, Sedgwick met artist and avant-garde filmmaker Andy Warhol at Lester Persky's apartment.
Richardson's first marriage was to filmmaker Robert Fox whom she had met in 1985, during the making of Anton Chekhov's The Seagull ; they were married from 1990 to 1992.
Then around 1976, Pennebaker met experimental filmmaker turned documentarian Chris Hegedus.
She was working as a model when she met filmmaker Jean-Jacques Beineix.
In Canada she met and married filmmaker Paul Saltzman whom she divorced in 1993.
While at college, he met fellow aspiring filmmaker Tom Stern.
Masri met her future husband, the Lebanese filmmaker Jean Chamoun, in 1982.
Shum is also close friends with fellow filmmaker, Ann Marie Fleming, whom she met in 1989 while they were both students.
At school he first met and befriended filmmaker Parviz Shahbazi and cinematographer Farzad Jodat, who would later shoot all of Panahi's early work.
In August 2010, French filmmaker Vincent Moon and Efterklang's 8 piece-live band met up on an island off the Danish coast.
In 1965 he met filmmaker Claude Lelouch and was hired to help write the score for the film, Un homme et une femme ( A Man and A Woman ).
After returning to Canada, he met and began working with filmmaker Guy Maddin, who would have a seminal influence upon his early work.
During the production of Heavy Traffic, filmmaker Ralph Bakshi met and developed an instant friendship with producer Albert S. Ruddy during a screening of The Godfather, and pitched Harlem Nights to Ruddy.
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