Coen Quotations

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.

I feel like if you see five films not knowing who made them, you know which one is the Coen Brothers.

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 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.

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.

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.

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.

I worked with the Coen brothers, which had been a dream of mine.

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.

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.

Even if I went off to some other career, I hope I would still be doing Coen 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.

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.

It's so odd because I don't even know if I'm cut out for it, but being a movie star guy, I sort of end up gravitating toward the Coen brothers. That's one of the reasons my wife and I moved to L.A.: that however much of a pipe dream that would be, I moved to L.A. because I'd love to work with the Coen brothers.

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'd love to do more theater in New York City. And I'd love the chance to do a big movie with a great director -- you know, the Coen brothers or Woody Allen or Steven Spielberg, ... I'd love a shot at that.

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.

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.