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I have a big affinity for the Coen Brothers.
Everything the Coen brothers do is brilliant.
The Coen brothers are amazing; they're special.
I'm a Coen Brothers fan - especially their early work.
I knew a lot about the Coen Brothers by the time I was 12 or 13.
I worked with the Coen brothers, which had been a dream of mine.
I'm a fan of, like, the Coen Brothers, with the darker humor in it.
I like the absurd and the surreal: the Coen brothers, Bunuel, Kubrick.
Even if I went off to some other career, I hope I would still be doing Coen films.
Making movies is never going to get better than working on a Coen brothers project.
I'd love to work with the Coen brothers. And Steven Spielberg. 'E.T.' was big for me.
I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.
I feel like if you see five films not knowing who made them, you know which one is the Coen Brothers.
What I love about the Coen brothers - what everyone loves - is that they sort of toe the line of a truly dark comedy.
I've been largely an improvisational actor for most of my career, except for when I've worked with the Coen brothers.
People are so used to seeing John Goodman as a lovable dad or the quirky characters he played in the Coen Brothers films.
People are so used to seeing John Goodman as a loveable dad or the quirky characters he played in the Coen Brothers films.
The movies I respond to are by guys like the Coen brothers and Edgar Wright, where it's hard to fit them into any one box.
'Fargo' definitely makes it into my top three favorite films of all time; I have a serious obsession with the Coen brothers.
If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
One of the things I love about Joel and Ethan Coen's movies is that there is this element of the ethereal and the mythic that they play with.
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
I'm crazy about the Coen brothers, I'm crazy about Sean Penn. I love the usual suspects like Susan Sarandon, Meryl Streep and people like that.
I really respect the Coen brothers as directors and as creative individuals and with the way that they handle the industry and the business side of things.
The Coen Brothers, Peter Jackson, and Guillermo del Toro have really made something of themselves and impacted people. I'd love to work with them sometime, too.
I would love to work with the Coen brothers and Terrence Malick. I love both of their bodies of work so much, so I'm really interested in acting under their direction.
There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.
To me, the bones of 'Smokin' Aces' is in the Coen brothers. 'Barton Fink' and 'Raising Arizona.' Those two movies, if you look at them, that's where a lot of that comes from.
I don't believe in director's cuts where you make things longer. The coolest thing was when the Coen brothers did a director's cut of 'Blood Simple,' and they made it shorter.
Shakespeare has been adapted by Akira Kurosawa. 'Dangerous Liaisons' has been adapted into a Chinese movie. 'Blood Simple', the Coen brothers movie, was adapted by Zhang Yimou.
I'm being photographed, worrying about my hair - and yet here I am, I've directed a feature film, why do I care about the way I look? Who cares? Does Tim Burton care? Does Joel Coen?
All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
I'm not a very efficient filmmaker. There's a lot of guys, filmmakers like the Coen Brothers who shoot a whole movie and maybe don't use 12 setups. I'm in awe of people like that; I'm just not that guy.
Every frame of a Coen brothers movie is filled with history and meaning, and the deeper you go, the deeper you get. That's why their movies stand up particularly well to repeated viewing and investigation.
I began with small roles in successful movies like 'No Country For Old Men' by the Coen brothers; but it was 'The Last Exorcism' that changed my life: with what I earned, I left Texas and moved to Los Angeles.
For some reason, I tend to take on the stuff that people are really passionate about. If you make a list of people you don't want to offend, it's Vonnegut readers, comic book fans, and Coen brothers enthusiasts.
I really like dramas that have a tone of comedy in them or the opposite, and those are done by people like Alexander Payne and Jason Reitman but also Spike Jonze and David O. Russell and Paul Thomas Anderson, the Coen Brothers.
My introduction to Woody Allen and to Ethan Coen was at the same time. On Broadway, I starred in a play called 'Relatively Speaking,' which was three one-act comedies, one of which was written by Ethan and one of which was by Woody.
Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.
I love the Coen brothers. They're so brilliant, and they always surprise you in one way or another. 'A Serious Man' was awesome. I like stuff like that, that kind of throws you for a loop. It takes you on a journey that is unexpected.
My heroes are guys like Frank Capra and Elia Kazan and Coen brothers and Terry Gilliam, more so than a lot of bass players at this point in my life. So I've always been an old-film nut and have very much enjoyed doing videos over the years.
When you watch a Coen brothers movie, it is always so certain about what it is trying to portray. That is their strength. The minute they write a word, they know how it will look on-screen. They are very purposeful, with no kind of mistakes.
I would love to work with anybody who has a good story to tell - Patrick Graham, Vikramaditya Motwane, Anurag Kashyap, Neeraj Ghaywan, Coen Brothers, Wes Anderson. I don't know why I was not considered for that Indian guy's part in 'The Grand Budapest Hotel.'
There are movies that I love tonally, that I would love to emulate. Anything from Wes Anderson or the Coen brothers is right in my wheelhouse, as something that I would aspire to. I love that kind of indie, fun, colorful, funny, sweet, heartfelt but dark film.
I always say, I'm certain I changed 'Watchmen' less than the Coen brothers changed 'No Country for Old Men.' I'm certain of it. But you don't hear the Cormac McCarthy fans, like, up in arms about it. They should be. It's like an amazing Pulitzer Prize-winning book.
I guess I much prefer the path of the contrarian: the guy who goes against the grain a bit. The careers of the people who I admire deeply - like the Coen brothers and Soderbergh - don't repeat themselves, and they make radically different films at times, and I think that's wonderful.
I am a fan of the Coen brothers. I'm not a fanatic. I'm a big admirer. They create unique worlds, and there is a real atmosphere to their films. Not everyone can get that. That's a massive part of their appeal: you can recognise them. Like all the great directors or artists, you know it when you see it.
It's like somehow my favorite filmmakers, you know, bounce between genres. Like if you look at a career of somebody like Soderbergh or Danny Boyle or the Coen's. I mean, it goes - there's no real through line other than just their style, but the type of genre or the type of subject matter seems to go all over.