Three satiric plays by Oscar-winning screenwriter Ethan Coen Raising Arizona, Fargo, No Country for Old Men, Burn After Reading–the Coen brothers’ films are some of the most critically acclaimed and iconic of our time. Now, one half of the duo, Ethan Coen, adds playwriting to his eclectic bio. In these three short plays that ran to sold-out audiences Off-Broadway in 2008, the theme is hell–both on earth and in the hereafter. In “Waiting,” a man faces an uncertain future in an uncertain location that seems to be some kind of waiting room. The anxiety and despair hark back to dramas of the fifties–Sartre, Beckett, Pinter. “Four Benches” depicts an unlikely meeting in a steam room between a straight-talking Texan and an uptight Brit. Both men learn from the encounter, though only one survives it. In “Debate,” the cantankerous god of the Old Testament roundly abuses the mealymouthed god of the New. His profanity and ill humor receive a startling comeuppance, and further reversals and changes of point of view lead to a denouement that is no more preposterous than anything else in the play. Clever, provocative, and as engaging as the best fiction, these plays showcase yet another talent of one of our most celebrated contemporary writers.
These four early works by the internationally lauded filmmaking team deal with the subject for which they are best known: corruption and crime in situations that combine the real and the surreal with the hilarious. Of the scripts included here, Barton Fink--an intense look at the psychological ruin of a New York playwright trying to make it in 1940s Hollywood--is a masterful culmination of these themes.
These four early works by the internationally lauded filmmaking team deal with the subject for which they are best known: corruption and crime in situations that combine the real and the surreal with the hilarious. Of the scripts included here, Barton Fink--an intense look at the psychological ruin of a New York playwright trying to make it in 1940s Hollywood--is a masterful culmination of these themes.
THE STORY: Hiring and firing are antisocial acts. Workplace pressures make for nasty competition. And the work itself can be meaningless and alienating. Accordingly, the three short plays that make up OFFICES are comedies. OFFICES includes PEER REV
The Ballad of Buster Scruggs is an American western anthology film written, directed, and produced by the Coen brothers. It stars Tim Blake Nelson, Liam Neeson, James Franco, Zoe Kazan, Tyne Daly, and Tom Waits. It premiered at the 75th Venice International Film Festival on August 31, 2018, where it won the Golden Osella Award for Best Screenplay and is scheduled to be released November 16 on Netflix after a theatrical run. Six chapters each present a different story from the wild frontier. The Ballad of Buster Scruggs tells the story of a sharp-shooting songster. In Near Algodones, a wannabe bank robber gets his due and then some. Meal Ticket is a gothic tale about two weary travelling performers. All Gold Canyon is a story about a prospector mining for gold, while a woman finds an unexpected promise of love, along with a dose of life's cruel irony, on a wagon train across the prairies in The Gal Who Got Rattled. Finally, ghostly laughs haunt The Mortal Remains as a Lady rains judgment upon a motley crew of strangers undertaking a final carriage ride.
The Big Lebowski begins with a case of mistaken identity which escalates when Jeffrey Lebowski-alias The Dude-attempts to seek recompense for the despoliation of his ratty-ass little rug, and then finds himself entangled in a kidnapping caper as a bagman-a situation that goes from bad to worse due to the interference of his hapless bowling partners. In this film the Coen brothers have taken on the preoccupations of Raymond Chandler, but have given them a postmodern spin, while at the same time leaving Philip Marlowe's ethos intact as The Dude wanders through the fractured world of nineties L.A. trying to do the right thing. Like the award winning Fargo, The Big Lebowski is suffused with a droll humor and a verbal felicity that is as delightful as it is startling.
Provocative, revealing, and often hilarious poems by the Oscar-winning screenwriter of No Country for Old Men In his screenplays and short stories, Ethan Coen surprises and delights us with a rich brew of ideas, observations, and perceptions. In his first collection of poems he does much the same. The range of his poems is remarkable–funny, ribald, provocative, sometimes raw, and often touching and profound. In these poems, Coen writes of his childhood, his hopes and dreams, his disappointments, his career in Hollywood, his physically demanding love affair with Mamie Eisenhower, and his decade-long battle with amphetamines that produced some of the lengthier poems in the collection. You will chuckle, nodding with recognition as you turn the pages, perhaps even stopping occasionally to read.
The new Coen Brothers/Universal film starring George Clooney and Catherine Zeta-Jones tells the story of a hotshot divorce attorney who gets more than he bargained for when he falls for a client's gold-digging wife. Set for release on October 10. Original.
THE STORY: Hiring and firing are antisocial acts. Workplace pressures make for nasty competition. And the work itself can be meaningless and alienating. Accordingly, the three short plays that make up OFFICES are comedies. OFFICES includes PEER REV
Hail,Caesar! is the story of Eddie Mannix, tireless pursuer of the interests of fictional Capitol Pictures, circa 1951. He is the ultimate studio fixer and---since the studio is his world---the ultimate earthly one. There is no star scandal he cannot cover up, no studio misstep he cannot repair, no sin he cannot make right. His powers are tested, though, when production on the studio's most expensive picture ever---biblical epic Hail,Caesar!---is halted by the kidnapping of its star. The kidnappers are a mysterious gaggle seeking not just ransom but the destruction of everything Eddie Mannix lives for, and everything he lives by. . .
These three short plays by Oscar-winning screenwriter Coen explore the theme of hell--both on earth and in the hereafter. Clever, provocative, and engaging, these plays showcase yet another talent from one of the most celebrated contemporary writers.
THE STORIES: In TALKING CURE, Ethan Coen uncovers the sort of insanity that can only come from family. Elaine May explores the hilarity of passing in GEORGE IS DEAD. In HONEYMOON MOTEL, Woody Allen invites you to the sort of wedding day you won't forget.
(Book). Quintessential Coen brothers fare but different. Inside Llewyn Davis has a certain kinship with Les Miserables . In it almost all the principal actors Oscar Isaac, Carey Mulligan, Justin Timberlake sing. While not quite a musical, Inside Llewyn Davis is built around full-length performances of folk songs that were heard in the grubby cafes of the Village in a year when Bob Dylan, who kind of, sort of shows up in the movie, had just appeared on the scene. Bob Dylan, Paul Clayton, the Rev. Reverend Gary Davis, Joni Mitchell, Tom Paxton and myriad other singers of the era are invoked in the film. Its story bounces through actual places like Gerde's, the Gaslight Cafe and the Gate of Horn in Chicago without explicitly portraying real artists or folk music powers like the impresario Albert Grossman. Working with the producer Scott Rudin, their collaborator on both True Grit and No Country for Old Men , the Coen Brothers shot the film in New York City and elsewhere last year and finished the movie at their own pace. They could have rushed it into the Oscar season but chose to bide their time. T Bone Burnett, who provided the old time music of O Brother, Where Art Thou? , also produced the music for Inside Llewyn Davis . Mr. Burnett has helped to re-create the brief flowering of a folk scene that in the early '60s made Washington Square and its environs an unlikely crossroads for musical influences from Appalachia, the Deep South, the Far West, New England almost anywhere but New York's neighborhoods, from which some of its heartiest practitioners, and Llewyn Davis, arrived.
Hail,Caesar! is the story of Eddie Mannix, tireless pursuer of the interests of fictional Capitol Pictures, circa 1951. He is the ultimate studio fixer and---since the studio is his world---the ultimate earthly one. There is no star scandal he cannot cover up, no studio misstep he cannot repair, no sin he cannot make right. His powers are tested, though, when production on the studio's most expensive picture ever---biblical epic Hail,Caesar!---is halted by the kidnapping of its star. The kidnappers are a mysterious gaggle seeking not just ransom but the destruction of everything Eddie Mannix lives for, and everything he lives by. . .
Barton Fink: Cast gender - mostly males; number - 19 males, 5 females (total 24); size - large; ages - adults. Set in Hollywood in the 40s, this story is a deeply dark, yet comic satire about creative egos, flashy movie moguls, travelling salesman, and a nasty case of writer's block.
It's easy to see why Raising Arizona is one of the best and most beloved films that Ethan and Joel Coen have yet to create. The cultish humor, original characters, fresh cinematography, catchy soundtrack, and zany yet well-structured plot to be found in this film are all Coen brothers trademarks. Nicholas Cage plays a veteran criminal who marries a prison guard named Edwina (Holly Hunter). Because he and his wife cannot conceive, our convict-hero kidnaps, with only the most earnest intentions, one of the famous "Arizona Quintuplets." A hellacious bounty-hunting biker and two old pals who have just escaped from the pen make it very hard for the couple to raise their child properly. This is a movie—and a screenplay—marked by breathless chases, improbable scenes, and hilarious dialogue throughout.
This forward-looking exploration of contemporary American film across the last 40 years identifies and examines the specific movies that changed the film industry and shaped its present and future. Since the mid-1970s, American cinema has gone through enormous changes, such as the birth of the modern summer blockbuster, the rise of the independent film industry, ongoing technological advancements in special effects, and the ever-evolving models for film distribution. Written by a professional film critic and film buff, this book tells the story of contemporary American cinema in a unique and engaging way: by examining 25 key movies that demonstrated a significant creative, technological, or business innovation that impacted the industry at large. Each chapter in this chronological survey of contemporary film is divided into two sections: "The Film," which offers a critical overview of the film in question; and "The First," which describes the specific innovation achieved by that film and places that achievement in the larger historical context. Two additional appendices in each chapter explore other significant aspects of both the film and its groundbreaking nature. The broad coverage—ranging from action movies to horror films to science fiction favorites—ensures the work's appeal to all film fans.
This book is a practical blueprint for teachers wanting to begin teaching project-based music technology, production and songwriting to secondary and college-age students. We hope to inspire teachers to expand beyond the usual ensemble offerings to create a culture of unique creativity at their school. The book will primarily draw upon the authors' experiences developing and implementing the music technology program at Lebanon High School, one of the nation's largest secondary-level programs, and courses at New York University and Montclair State University. While the lesson templates can be used with any hardware and software setup, the book uses the popular digital audio workstation Ableton Live for specific examples and screenshots"--
My book, The Color Line: A History, is about how the ethnic biases of the European of Ancient Rome morphed into the racial prejudice of modern times through a process that was centuries in the making. From the collapse of Ancient Rome to the rise of Christendom, then to the discovery of the American continents through to the landmark Supreme Court decision of Plessy v. Ferguson, I will take the reader on a journey that will shatter preconceived notions of European and African relations. The narrative strain of my comprehensive composition seeks to historically follow the advent of the color classifications of white and black by using primary and secondary sources to explain this social and psychological concept which still influences our world.
Welcome to Ethan Stowell’s New Italian Kitchen--not so much a place as a philosophy. Here food isn’t formal or fussy, just focused, with recipes that honor Italian tradition while celebrating the best ingredients the Pacific Northwest has to offer. We’re talking about a generous bowl of steaming handmade pasta--served with two forks for you and a friend. Or perhaps an impeccably fresh crudo, crunchy cucumber and tangy radish accenting impossibly sweet spot prawns. Next up are the jewel tones of a beet salad with lush, homemade ricotta, or maybe a tangle of white beans and clams spiked with Goat Horn pepper--finished off with a whole roasted fish that begs to be sucked off the bones. Oh, some cheese, a gooseberry compote complementing your Robiola, or the bittersweet surprise of Campari sorbet. This layered approach is a hallmark of Ethan’s restaurants, and in his New Italian Kitchen, he offers home cooks a tantalizing roadmap for re-creating this style of eating. Prepare a feast simply by combining the lighter dishes found in “Nibbles and Bits”—from Sardine Crudo with Celery Hearts, Pine Nuts, and Lemon to Crispy Young Favas with Green Garlic Mayonnaise—or adding recipes with complex flavors for a more sophisticated meal. Try the luscious Corn and Chanterelle Soup from “The Measure of a Cook;” or the Cavatelli with Cuttlefish, Spring Onion, and Lemon from “Wheat’s Highest Calling.” Up the ante with a stunning Duck Leg Farrotto with Pearl Onions and Bloomsdale Spinach from “Starches to Grow On,” or choose one of the “Beasties of the Land,” like Skillet-Roasted Rabbit with Pancetta-Basted Fingerlings. Each combination will nudge you and your guests in new, unexpected, and unforgettable directions. Every page of Ethan Stowell’s New Italian Kitchen captures the enthusiasm, humor, and imagination that make cooking one of life’s best and most satisfying adventures. It’s got to be good--but it’s also got to be fun.
Set in the midst of the bleak midwinter snow drifts of the American Midwest, Fargo is a story of murder and mayhem. Jerry Lundegaard plots the kidnapping of his wife to rescue his precarious financial situation, but events career out of control when one of the perpetrators he has hired to do the job goes haywire. In a senseless universe, it falls to Marge Gunderson (chief of the Brainerd Police Department and the moral centre of the film) to set things to rights. Like the Coen brothers' auspicious debut feature Blood Simple, Fargo concerns itself with dirty deeds done for money, but the grimness of the tales is alleviated by the laconic humour with which the characters greet their fates. The intricacy of the plotting is executed with brillance, yet the writing also reveals humanity at its core. Fargo was honoured with the Academy Award for Best Original Screenplay of 1996.
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