Here are some extracts of storyboarding from The Big Lebowski

“If somebody goes out to make a movie that isn’t designed primarily to entertain people, then I don’t know what the fuck they’re doing. What’s the Raymond Chandler line? ‘All good art is entertainment and anyone who says differently is a stuffed shirt and juvenile at the art of living.’” —Joel Coen

“Most of the characters in our movies are pretty unpleasant—losers or lunkheads, or both. But we’re also very fond of those characters, because you don’t usually see movies based around those kinds of people. We’re not interested in burly superhero types.” —Joel Coen

The original The Big Lebowski DVD features a gem of an interview with the Coen Brothers in which they ruminate on the film and joke around about the backstory. In one of the funniest parts, they talk about an interview they did with “Floor Covering Weekly” about the rug which plays a central part in the film. Just like the rug itself, the interview seemed to have been at the center of an abiding mystery. Speculation has since abounded — what happened to the interview? Was it a hoax perpetrated by a zealous fan? Or did the Coens just make the whole thing up? They’ve certainly been keen to play with alternate realities in regards to the Lebowski mythos. —The Lost Coen Brothers – Big Lebowski – Floor Covering Weekly Interview! 

Watch here: The Making of ‘The Big Lebowski’

Called “the most natural and least self-conscious screen actor that has ever lived” by über-critic Pauline Kael, this 2010 Oscar-winning best actor embodies traits far beyond brilliance as an actor. He is an exceptional musician, a photographer, an occasional vintner and a storyteller. He hails from an illustrious Hollywood family, working as a child with his father Lloyd and brother Beau on television’s “Sea Hunt.” Bridges endures with vigor and grace. His own decades-long marriage and daughters remain the center of his world. His casual, easy-going air have endeared him to audiences for almost 40 years, starting with The Last Picture Show in 1971, reinforced in Starman in 1984 and the cult classic The Big Lebowski in 1998. After the life-changing role of Bad Blake in Crazy Heart in 2009, he returns to the screen with Tron Legacy and as Rooster Cogburn in the remake of True Grit, directed by the Coen Brothers.

I love this man.

Jeff Bridges: The Dude Abides (American Masters): Watch the full episode @ American Masters

  • Read The Big Lebowski script [pdf] (NOTE: For educational purposes only)
  • Download ScreenplayHowTo’s The Big Lebowski screenplay analysis [pdf]

Coen Brothers quote prints, your walls will thank you later!

A truly magnificent script, please read and study: Fargo original screenplay by Joel Coen and Ethan Coen [pdf]. (NOTE: For educational purposes only)

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Source: brazierillustration.co.uk

Harsh Country: Joel and Ethan Coen wrestle with point of view and capturing the inner lives of the strong silent types in Cormac McCarthy’s No Country for Old Men — their first produced adaptation of a novel.BY JEFF GOLDSMITH (creativescreenwriting January/February 2008) As for the Coens’ writing habits, they enjoy writing together in the same room. “We sit in a room together and talk the scene back and forth — we kind of write it all together. We don’t trade drafts,” Ethan says. “But here’s the thing about creative screenwriting,” Joel explains. “The most important aspect of it that I think is somewhat neglected is that most of the time we spend writing creatively, we’re actually napping.” “A lot of napping,” Ethan chimes in, just in case anyone doubted Joel’s statement. “For years and years we would go into the office religiously every day at 9 or 10 in the morning and spend most of the day there, and my wife would accuse Ethan and me of essentially going in there and sleeping, and we would deny it,” Joel says. “But about two years ago we decided that it was time to admit that, in fact, that is what we do most of the day.” When writing during their awake moments from an average 10 a.m. – 5 p.m. day, the Coens explain there’s nothing high-tech about their always-unique dialogue. “We’ve never recorded it,” Joel says, “except orthographically.” Ethan adds, “We do talk a scene back and forth.” Joel elaborates, “We don’t do any research either. We won’t visit an area. We write out of complete ignorance really and essentially make it up. A lot of research gets done sort of after the fact in production by the art department, the costume department, the production designer — that sort of thing. But we’re not big on that. We’re from the make-it-up school.” “NO COUNTRY FOR OLD MEN” Adapted Screenplay by JOEL COEN & ETHAN COEN for your reading pleasure [pdf]. (NOTE: For educational purposes only) Previously on Cinephilia & Beyond: In the interview which follows, initially published in 1996, Joel and Ethan Coen discuss the writing and filming of Fargo, its precise characterizations, acting performances and the visual style that emphasizes the spiritual landscape of the bleak Midwestern setting. The Coen Brothers: Fargo, Crime and Realism
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Harsh Country: Joel and Ethan Coen wrestle with point of view and capturing the inner lives of the strong silent types in Cormac McCarthy’s No Country for Old Men — their first produced adaptation of a novel.
BY JEFF GOLDSMITH (creativescreenwriting January/February 2008)

As for the Coens’ writing habits, they enjoy writing together in the same room. “We sit in a room together and talk the scene back and forth — we kind of write it all together. We don’t trade drafts,” Ethan says. “But here’s the thing about creative screenwriting,” Joel explains. “The most important aspect of it that I think is somewhat neglected is that most of the time we spend writing creatively, we’re actually napping.” “A lot of napping,” Ethan chimes in, just in case anyone doubted Joel’s statement. “For years and years we would go into the office religiously every day at 9 or 10 in the morning and spend most of the day there, and my wife would accuse Ethan and me of essentially going in there and sleeping, and we would deny it,” Joel says. “But about two years ago we decided that it was time to admit that, in fact, that is what we do most of the day.”

When writing during their awake moments from an average 10 a.m. – 5 p.m. day, the Coens explain there’s nothing high-tech about their always-unique dialogue. “We’ve never recorded it,” Joel says, “except orthographically.” Ethan adds, “We do talk a scene back and forth.” Joel elaborates, “We don’t do any research either. We won’t visit an area. We write out of complete ignorance really and essentially make it up. A lot of research gets done sort of after the fact in production by the art department, the costume department, the production designer — that sort of thing. But we’re not big on that. We’re from the make-it-up school.”

“NO COUNTRY FOR OLD MEN” Adapted Screenplay by JOEL COEN & ETHAN COEN for your reading pleasure [pdf]. (NOTE: For educational purposes only)

Previously on Cinephilia & Beyond:

In the interview which follows, initially published in 1996, Joel and Ethan Coen discuss the writing and filming of Fargo, its precise characterizations, acting performances and the visual style that emphasizes the spiritual landscape of the bleak Midwestern setting.

image

The Coen Brothers: Fargo, Crime and Realism

FYRP: Bad Santa, 2002 Revised Draft by Glenn Ficarra & John Requa. Revisions by Ethan Coen & Joel Coen. You’re presenting the director’s cut of “Bad Santa” this weekend. That’s your preferred version? That’s the filming of the script, basically. That’s the script I was given. That’s all it is. The studio wanted to mess with it and make it more mainstream and pour some fake sentiment on it for the people that stumble around the mall. Go to Target some day and look at who your target audience is. Look at the people who are out there going to films and you realize you are totally fucked, you don’t want to do anything these people like. But that director’s cut is exactly the script I got. I wanted to protect the script. I like writers a lot. It was a lot darker. What is “Badder Santa,” which is also on the Blu-ray? They just wanted a marketing gimmick. I think “American Pie” on DVD years before that had released an unrated version that they touted as being sexier and raunchier that they sold a lot. So they wanted that. They went back and looked at all the profanity that I had cut out, because I thought it had gotten to be a little bit deadening with so many fucks. It was too much. Then for that cut they added it back in and some other stuff that was cut from the original script. But you aren’t crazy about that version? It’s alright. I haven’t looked at it in ten years. I remember looking at it and not being completely disgusted by it. I like my version better. It works better as a film. Can you talk about working with the Coens? They were executive producers. They had originally sent me the script and said, “We’re interested in you directing this but we think it still needs some work.” And the story I had heard was that the original writers, who wrote about 90% of what you see in any of the cuts, John Requa and Glenn Ficarra, and they met the Coen brothers and said, “We want to write a script that you guys direct.” And they said, “We only direct our own writing but we’ve always had this crazy idea about this drunken Santa Claus and this little person elf that has to keep him in line.” So John and Glenn wrote this script with the hopes that it would tickle the Coen brothers enough to direct it. And the Coen brothers read it and they told them, “We don’t want to direct it. We think it’s great but we don’t want to do it.” So they asked them if they could give them some notes. And when the Coens sat down to try and give them notes over a weekend, eventually they just thought it would be easier if they take a pass on it and rewrite it. Because what they do is they go and tweak the dialogue. That’s what they largely do in this case. Like the kid would ask Santa, “Do you and Mrs. Santa ever think of having kids?” And in the original script it was just, “No thank god.” And the Coens made that into, “No, thank the fuck Christ.” That’s their gift. They have a gift for dialogue. I got that script that still had problems – there were a bunch of flashbacks and the kid would babble endlessly about going to the bathroom on mommy’s dishes, it went on for pages. They and I agreed that stuff should go. So I edited that out and worked on maybe four or five other things that I wrote originally, like that scene that was highly inspired by David Sedaris’ ”The Santaland Diaries,” where Billy Bob is on his lunch break and this woman comes up and he starts screaming at her. A bunch of other scenes my wife and I worked on to inject a bit of warmth into them. It was a very cold script when I got it and believe it or not it’s much warmer after I took a pass at it. Have you kept in touch with the Coens? I haven’t kept in touch with them. We had a very strong disagreement about casting Tony Cox as the black elf. They said that they couldn’t see the guy being black. I said I don’t see the guy being black, I think the fact of him being three-foot-six is the overriding characteristic of the guy. I don’t think it matters. I just think this guy is really funny in the part. And they thought that would ruin the film. They argued with me for a while and finally said, “You’re the one who has to direct it, so good luck.” They knew the Weinsteins get really heavily involved in editing and they didn’t want to be involved in that. At one point the Weinsteins asked them to watch a cut that the Weinsteins had done that made it much more mainstream. They had added a bunch of scenes, some of which I refused to film, and they cut them in and the Coen brothers watched it. They said, “Well, you tried to make this film into ‘American Pie.’ It’s a piece of shit now.” That was their response and they got into a heated argument with the Weinsteins that ended with everyone yelling “Fuck you” at each other. They didn’t want any part of it after that so I was stuck with it. It got pretty nasty. Who shot that other stuff? Did you ever want to leave the movie altogether? I went and had a Director’s Guild arbitration about it. Because my lawyer had originally traded off half my salary to get me final cut of the film. When these guys tried to cut it I called her up and she said I would have to hire outside litigators at $35,000 a day to try and fight that, that her office doesn’t do that. And I said, “Well the contract you got me was worthless.” I felt I was entitled to my cut of the film and I went to a DGA arbitration because I couldn’t afford litigation. Under the terms of that arbitration I can’t tell you any more than what I’ve told you. A lot of what they shot they tested and it didn’t work so they got rid of it anyway. Then I got to work to push it closer to my original version. It was damage control at that point. Would you ever work for the Weinsteins again? I don’t know. It depends, I guess. If they had a script I really wanted to do or enough money. Are you surprised by the longevity of “Bad Santa?” I’m more surprised by its cultural impact. Every time I look at the newspaper or online there’s some sort of “Bad Santa” happening around town. There’s a “Bad Santa” bar craw, there’s a “Bad Santa” party, there’s “Bad Santa” rap music, there’s “Bad Santa” porno DVD… A couple of years ago the Weinsteins made a commitment to make a bunch of sequels to things. Right. They wanted to do a “Bad Santa” sequel. I’ve read about that for years. I don’t know if they’re ever going to do it or if it’s going to go straight to video. The other sequels they’re doing is like “Rounders.” Who wants to go to a sequel to “Rounders?” Or “Shakespeare in Love?” I think they just got the rights back to a bunch of stuff in their library. I think they will probably do direct-to-video stuff just to make some money. I have no interest in sequels. Terry Zwigoff Talks Battling Over ‘Bad Santa,’ His Preferred Director’s Cut & Much More In Candid Interview
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FYRP: Bad Santa, 2002 Revised Draft by Glenn Ficarra & John Requa. Revisions by Ethan Coen & Joel Coen.

You’re presenting the director’s cut of “Bad Santa” this weekend. That’s your preferred version?
That’s the filming of the script, basically. That’s the script I was given. That’s all it is. The studio wanted to mess with it and make it more mainstream and pour some fake sentiment on it for the people that stumble around the mall. Go to Target some day and look at who your target audience is. Look at the people who are out there going to films and you realize you are totally fucked, you don’t want to do anything these people like. But that director’s cut is exactly the script I got. I wanted to protect the script. I like writers a lot. It was a lot darker.

What is “Badder Santa,” which is also on the Blu-ray?
They just wanted a marketing gimmick. I think “American Pie” on DVD years before that had released an unrated version that they touted as being sexier and raunchier that they sold a lot. So they wanted that. They went back and looked at all the profanity that I had cut out, because I thought it had gotten to be a little bit deadening with so many fucks. It was too much. Then for that cut they added it back in and some other stuff that was cut from the original script.

But you aren’t crazy about that version?
It’s alright. I haven’t looked at it in ten years. I remember looking at it and not being completely disgusted by it. I like my version better. It works better as a film.

Can you talk about working with the Coens?
They were executive producers. They had originally sent me the script and said, “We’re interested in you directing this but we think it still needs some work.” And the story I had heard was that the original writers, who wrote about 90% of what you see in any of the cuts, John Requa and Glenn Ficarra, and they met the Coen brothers and said, “We want to write a script that you guys direct.” And they said, “We only direct our own writing but we’ve always had this crazy idea about this drunken Santa Claus and this little person elf that has to keep him in line.”

So John and Glenn wrote this script with the hopes that it would tickle the Coen brothers enough to direct it. And the Coen brothers read it and they told them, “We don’t want to direct it. We think it’s great but we don’t want to do it.” So they asked them if they could give them some notes. And when the Coens sat down to try and give them notes over a weekend, eventually they just thought it would be easier if they take a pass on it and rewrite it. Because what they do is they go and tweak the dialogue. That’s what they largely do in this case. Like the kid would ask Santa, “Do you and Mrs. Santa ever think of having kids?” And in the original script it was just, “No thank god.” And the Coens made that into, “No, thank the fuck Christ.” That’s their gift. They have a gift for dialogue.

I got that script that still had problems – there were a bunch of flashbacks and the kid would babble endlessly about going to the bathroom on mommy’s dishes, it went on for pages. They and I agreed that stuff should go. So I edited that out and worked on maybe four or five other things that I wrote originally, like that scene that was highly inspired by David Sedaris’ ”The Santaland Diaries,” where Billy Bob is on his lunch break and this woman comes up and he starts screaming at her. A bunch of other scenes my wife and I worked on to inject a bit of warmth into them. It was a very cold script when I got it and believe it or not it’s much warmer after I took a pass at it.

Have you kept in touch with the Coens?
I haven’t kept in touch with them. We had a very strong disagreement about casting Tony Cox as the black elf. They said that they couldn’t see the guy being black. I said I don’t see the guy being black, I think the fact of him being three-foot-six is the overriding characteristic of the guy. I don’t think it matters. I just think this guy is really funny in the part. And they thought that would ruin the film. They argued with me for a while and finally said, “You’re the one who has to direct it, so good luck.” They knew the Weinsteins get really heavily involved in editing and they didn’t want to be involved in that. At one point the Weinsteins asked them to watch a cut that the Weinsteins had done that made it much more mainstream. They had added a bunch of scenes, some of which I refused to film, and they cut them in and the Coen brothers watched it. They said, “Well, you tried to make this film into ‘American Pie.’ It’s a piece of shit now.” That was their response and they got into a heated argument with the Weinsteins that ended with everyone yelling “Fuck you” at each other. They didn’t want any part of it after that so I was stuck with it. It got pretty nasty.

Who shot that other stuff? Did you ever want to leave the movie altogether?
I went and had a Director’s Guild arbitration about it. Because my lawyer had originally traded off half my salary to get me final cut of the film. When these guys tried to cut it I called her up and she said I would have to hire outside litigators at $35,000 a day to try and fight that, that her office doesn’t do that. And I said, “Well the contract you got me was worthless.” I felt I was entitled to my cut of the film and I went to a DGA arbitration because I couldn’t afford litigation. Under the terms of that arbitration I can’t tell you any more than what I’ve told you. A lot of what they shot they tested and it didn’t work so they got rid of it anyway. Then I got to work to push it closer to my original version. It was damage control at that point.

Would you ever work for the Weinsteins again?
I don’t know. It depends, I guess. If they had a script I really wanted to do or enough money.

Are you surprised by the longevity of “Bad Santa?”
I’m more surprised by its cultural impact. Every time I look at the newspaper or online there’s some sort of “Bad Santa” happening around town. There’s a “Bad Santa” bar craw, there’s a “Bad Santa” party, there’s “Bad Santa” rap music, there’s “Bad Santa” porno DVD…

A couple of years ago the Weinsteins made a commitment to make a bunch of sequels to things.
Right. They wanted to do a “Bad Santa” sequel. I’ve read about that for years. I don’t know if they’re ever going to do it or if it’s going to go straight to video. The other sequels they’re doing is like “Rounders.” Who wants to go to a sequel to “Rounders?” Or “Shakespeare in Love?” I think they just got the rights back to a bunch of stuff in their library. I think they will probably do direct-to-video stuff just to make some money. I have no interest in sequels.

Terry Zwigoff Talks Battling Over ‘Bad Santa,’ His Preferred Director’s Cut & Much More In Candid Interview

Source: blogs.indiewire.com

We had a very strong disagreement about casting Tony Cox as the black elf. The Coens said that they couldn’t see the guy being black. I said I don’t see the guy being black, I think the fact of him being three-foot-six is the overriding characteristic of the guy. I don’t think it matters. I just think this guy is really funny in the part. And they thought that would ruin the film. They argued with me for a while and finally said, “You’re the one who has to direct it, so good luck.” They knew the Weinsteins get really heavily involved in editing and they didn’t want to be involved in that. At one point the Weinsteins asked them to watch a cut that the Weinsteins had done that made it much more mainstream. They had added a bunch of scenes, some of which I refused to film, and they cut them in and the Coen brothers watched it. They said, “Well, you tried to make this film into ‘American Pie.’ It’s a piece of shit now.” That was their response and they got into a heated argument with the Weinsteins that ended with everyone yelling “Fuck you” at each other. They didn’t want any part of it after that so I was stuck with it. It got pretty nasty.
Terry Zwigoff Talks Battling Over ‘Bad Santa,’ His Preferred Director’s Cut & Much More In Candid Interview
Directors Joel and Ethan Coen on the set of Miller’s Crossing “A lot of people told us that Fargo was so limited and so focused that it couldn’t possibly succeed.” Ethan Coen“I don’t know that I am [creative]. That’s for other people to decide. I guess it beats throwing trash for a living.” Joel Coen“I was always interested in movies the way everyone is interested. That is, I liked to go to the movies.” Ethan Coen“Somebody once asked us about [John] Turturro, if we developed a shorthand with him working together over the course of all these movies. And we said, ‘It’s beyond shorthand. We don’t even talk to him!’.” Ethan Coen“The criminals in our movies are, generally speaking, knuckleheads, so there is something amusing about them. You know what I mean? Their sins can sort of be looked at in an amusing way.” Joel Coen
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Directors Joel and Ethan Coen on the set of Miller’s Crossing

“A lot of people told us that Fargo was so limited and so focused that it couldn’t possibly succeed.” Ethan Coen

“I don’t know that I am [creative]. That’s for other people to decide. I guess it beats throwing trash for a living.” Joel Coen

“I was always interested in movies the way everyone is interested. That is, I liked to go to the movies.” Ethan Coen

“Somebody once asked us about [John] Turturro, if we developed a shorthand with him working together over the course of all these movies. And we said, ‘It’s beyond shorthand. We don’t even talk to him!’.” Ethan Coen

“The criminals in our movies are, generally speaking, knuckleheads, so there is something amusing about them. You know what I mean? Their sins can sort of be looked at in an amusing way.” Joel Coen

A truly magnificent script, please read and study: Fargo original screenplay by Joel Coen and Ethan Coen [pdf]. (NOTE: For educational purposes only) In the interview which follows, initially published in 1996, Joel and Ethan Coen discuss the writing and filming of Fargo, its precise characterizations, acting performances and the visual style that emphasizes the spiritual landscape of the bleak Midwestern setting. The Coen Brothers: Fargo, Crime and Realism William H. Macy tells Dave Davies about how intensely he lobbied for the role of Jerry Lundegaard in Fargo: “I auditioned for a smaller role and they said, ‘That’s really good. You want to read Jerry?’ And I said, ‘Yes, and so I went out of the room, spent 20 minutes, came back in, read Jerry.’ And they said, ‘That’s real good. You want to work on it and come tomorrow?’ I said, ‘Yes.” … I was up all night. I memorized the whole script. I wanted this role, so I went back in. They said, ‘That’s real good, that’s real good. We’ll be in touch.’ And then I heard through my agent that they were in New York auditioning, so I – jolly, jolly — got my ass on an airplane and crashed the audition. And I was making a joke — and luckily it landed — but I said, … ‘I’m afraid you’re going to screw up your movie and cast someone else in this role,’ and they went, ‘Hahaha,’ and I said, ‘No, seriously, I’ll shoot your dog if you don’t give me this role.’ And I think Ethan (Coen) had just gotten a dog.”
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A truly magnificent script, please read and study: Fargo original screenplay by Joel Coen and Ethan Coen [pdf]. (NOTE: For educational purposes only)

image

In the interview which follows, initially published in 1996, Joel and Ethan Coen discuss the writing and filming of Fargo, its precise characterizations, acting performances and the visual style that emphasizes the spiritual landscape of the bleak Midwestern setting.

The Coen Brothers: Fargo, Crime and Realism

William H. Macy tells Dave Davies about how intensely he lobbied for the role of Jerry Lundegaard in Fargo:

“I auditioned for a smaller role and they said, ‘That’s really good. You want to read Jerry?’ And I said, ‘Yes, and so I went out of the room, spent 20 minutes, came back in, read Jerry.’ And they said, ‘That’s real good. You want to work on it and come tomorrow?’ I said, ‘Yes.” … I was up all night. I memorized the whole script. I wanted this role, so I went back in. They said, ‘That’s real good, that’s real good. We’ll be in touch.’ And then I heard through my agent that they were in New York auditioning, so I – jolly, jolly — got my ass on an airplane and crashed the audition. And I was making a joke — and luckily it landed — but I said, … ‘I’m afraid you’re going to screw up your movie and cast someone else in this role,’ and they went, ‘Hahaha,’ and I said, ‘No, seriously, I’ll shoot your dog if you don’t give me this role.’ And I think Ethan (Coen) had just gotten a dog.”

Joel & Ethan Coen - The Works

The Man Who Wasn’t There B&W/Color Comparison by Evan E. Richards

Since the 1980s, Jeff Bridges has documented the behind-the-scenes landscape on every film he’s been on. His newest collection of photos from TRUE GRIT are now available as an iPad app. They’re beautiful and stark, befitting of a film called True Grit. Paramount seems to agree as they’ve turned Bridges’ photos into an iPad App. Essentially a photo book that allows you to flip through photos that, to my knowledge, aren’t available anywhere else. Not only that, but they’re giving it away for free. A rare moment in which movie marketing becomes desirable content. You can download the App via this link and if you want to see more of Jeff Bridge’s photography you can check out his great looking website here or take a gander at his Pictures by Jeff Bridges book that came out a few years ago. —Roger Erik Tinch
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Since the 1980s, Jeff Bridges has documented the behind-the-scenes landscape on every film he’s been on. His newest collection of photos from TRUE GRIT are now available as an iPad app. They’re beautiful and stark, befitting of a film called True Grit. Paramount seems to agree as they’ve turned Bridges’ photos into an iPad App. Essentially a photo book that allows you to flip through photos that, to my knowledge, aren’t available anywhere else. Not only that, but they’re giving it away for free. A rare moment in which movie marketing becomes desirable content. You can download the App via this link and if you want to see more of Jeff Bridge’s photography you can check out his great looking website here or take a gander at his Pictures by Jeff Bridges book that came out a few years ago. —Roger Erik Tinch

Source: jeffbridges.com

Joel and Ethan Coen’s Playful Homage to Cinema History

 

Chacun son cinéma (To Each His Own Cinema) is a 2007 French anthology film that brings together short films by 36 acclaimed directors. Lars von Trier, Jane Campion, Gus Van Sant, and Abbas Kiarostami all contributed to the project. Meant to commemorate the 60th anniversary of the Cannes Film Festival, the film originally aired on Canal+ in France. And, for reasons that remain unknown to us, that broadcast didn’t include the short film contributed by Joel and Ethan Coen, World Cinema. Nor did it appear on a later DVD release. If you wait long enough, these kinds of films eventually surface on YouTube. And, as luck would have it, you can watch World Cinema above. Fans of the Coen Brothers will immediately recognize Josh Brolin, who played a very similar character in their Academy Award-winning film, No Country for Old Men. Grant Heslov and Brooke Smith also make appearances. 

Source: openculture.com

Fargo Documentary

 

“Fargo is a 1996 American dark comedy-crime film produced, directed and written by brothers Joel and Ethan Coen. It stars Frances McDormand as a pregnant police chief who investigates a series of homicides, William H. Macy as a car salesman who hires two criminals to kidnap his wife, Steve Buscemi and Peter Stormare as the criminals, and Harve Presnell as the salesman’s father-in-law.

The film earned seven Academy Award nominations, winning two for Best Original Screenplay for the Coens and Best Actress in a Leading Role for McDormand. It also won the BAFTA Award and the Award for Best Director for Joel Coen at the 1996 Cannes Film Festival.

In 2006 it was deemed “culturally, historically, or aesthetically significant” and inducted into the United States National Film Registry. It is currently the most recently made feature length film in the Registry.” 

Download Script [PDF]