The rascally Coen brothers have never been the best interview subjects, possibly because they rankle at the constant questions about their relationship with each other. (When asked by Elle magazine, “Do you guys ever fight?” Joel Coen replied, “That’s not an interesting question.”)
I feel that this kind of questions is totally irrelevant to the public. I even saw the journalists asking about the Coen brothers’ family and kids. The directors were not read to take up personal questions. Then, Joel insisted the journalists go right here to the queries about their films.
So it can be a somewhat painful experience to see the brilliant siblings in a hotel hospitality suite being bombarded with questions from a dozen journalists about everything except their movies. Awkward silences, long pauses, and a couple of audible groans were among the responses to various questions.
But when the topic of conversation narrows to specific questions about their hilarious film “The Big Lebowski” starring Jeff Bridges (as “The Dude”, a doobie smoking burn-out who gets mixed up in a wacky kidnapping scam), the boys open up (just a bit).
The movie, which also stars John Goodman, Julianne Moore and includes an hysterical cameo from John Turturro, returns the Coens to the comic-genius territory of “Raising Arizona”.
indieWIRE: You majored in philosophy at Princeton. What is your philosophy of filmmaking?
Ethan Coen: Oooh -I don’t have one.I wouldn’t even know how to begin. You’ve stumped me there. None that I’ve noticed. Drawing a blank on this one.
IW: How much did “The Big Sleep” influence “The Big Lebowski”?
Joel Coen: We wanted to do a Chandler kind of story – how it moves episodically, and deals with the characters trying to unravel a mystery. As well as having a hopelessly complex plot that’s ultimately unimportant.
Ethan: And there was something attractive about having the main character not be a private eye, but just some pothead intuitively figuring out the ins and outs of an elaborate intrigue. And then there’s Walter, whose instincts are always wrong.
iW: Why is kidnapping a favorite theme of yours?
Ethan: It just turned out that way. I don’t know why kidnapping has figured into three of our movies. Not because of any personal obsession.
iW: Did you ever run around with the kinds of Los Angeles bowling-dope-smoking types that are depicted in the film?
Joel: To tell you the truth, we’re still tourists in LA. We have lived there for short periods of time, but we’ve always really lived in New York. But the character of the Dude is based on a member of an amateur softball league, but we changed it to bowling because it was more visually compelling, and it’s the kind of sport you can do while you’re drinking and smoking. And it’s also very retro – just as the characters are products with an earlier time, it seems that there’s so much associated with bowling in terms of design, and specifically in LA.
iW: Is Jeff Dowd one of those types?
Joel: Yeah, Jeff Dowd [an indie producer’s rep and friend of the Coens] is certainly one of those types that the Dude is based on. . .
iW: What’s the attraction of setting the film specifically in 1991?
Ethan: Well, setting the film during the Gulf War was an opportunity to have Walter gas about something –
Joel: That’s the main reason.
Ethan: And it’s more attractive to make something time specific than just present day, because –
Joel: – because just what is present day?
iW: What will you do if you ever win an Oscar for editing? [The Coens edit their own films under the credited pseudonym Roderick Jaynes, a fictional British film editor who supposedly hates their work.]
Ethan: We actually had a discussion with the Academy about that. Proxies can’t accept anymore after Marlon Brando queered it for the rest of us.
iW: Did you set out on this movie to teach America what Nihilism means?
Ethan: (laughs) Nihilism strikes a terrible chord in Walter [John Goodman’s character] who is particularly horrified by it.
Joel: (bitterly sarcastic) Everything’s a lesson for America.
This Text was taken from IndieWire