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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.
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.
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.
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'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.
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
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 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.
Making movies is never going to get better than working on a Coen brothers project.
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.
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.
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.
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.
Everything the Coen brothers do is brilliant.
I worked with the Coen brothers, which had been a dream of mine.
The Coen brothers are amazing; they're special.
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 like the absurd and the surreal: the Coen brothers, Bunuel, Kubrick.
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.
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.
Even if I went off to some other career, I hope I would still be doing Coen films.
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 feel like if you see five films not knowing who made them, you know which one is the Coen Brothers.
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 watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
A. P. J. Abdul Kalam
Martin Luther King, Jr.
Leonardo da Vinci
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