Top 1200 Coen Brothers Quotes & Sayings

What doesn't draw you into a Coen Bros. movie. It's amazing. I can't believe it! They're the Coen Bros. It's ridiculous.

People are so used to seeing John Goodman as a lovable dad or the quirky characters he played in the Coen Brothers films.

It feels like you're being invited into a kind of community [working with the Coen brothers].

The Coen Brothers, Peter Jackson, and Guillermo del Toro have really made something of themselves and impacted people. I'd love to work with them sometime, too.

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.

I have a big affinity for the Coen Brothers.

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

It was easy and fun [filming in Hail, Caesar!], and I think it's easy to be intimidated by the Coen brothers, because they're quiet. They don't heap praise, especially upon themselves. It's not like they're walking around thinking they're the greatest thing on Earth.

I would love to work with the Coen brothers and Terrence Malick. I love both of their bodies of work so much, so I'm really interested in acting under their direction.

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 knew a lot about the Coen Brothers by the time I was 12 or 13.

[The Coen brothers] hire the same people over and over again, so there's a shorthand between all of the people they're working with.

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.

For some reason, I tend to take on the stuff that people are really passionate about. If you make a list of people you don't want to offend, it's Vonnegut readers, comic book fans, and Coen brothers enthusiasts.

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

Coen brothers movies are not always what life looks like but it's definitely what life feels like.

On 'Half Nelson,' I was credited as the director, we both co-wrote it and Anna was the producer. We didn't know too many directing teams working at the time except the Coen brothers and that seemed to be the model, and people always know that they're a team, whether the credit reflected that or not.

I've been largely an improvisational actor for most of my career, except for when I've worked with the Coen brothers.

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.

As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.

I'd love to work with the Coen brothers. And Steven Spielberg. 'E.T.' was big for me.

I'm a Coen Brothers fan - especially their early work.

I like the absurd and the surreal: the Coen brothers, Bunuel, Kubrick.

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.

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.

What I love about the Coen brothers - what everyone loves - is that they sort of toe the line of a truly dark comedy.

'Fargo' definitely makes it into my top three favorite films of all time; I have a serious obsession with the Coen brothers.

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.

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.

Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.

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.

I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.

That experience [in Hail, Caesar! ] ruined me for all future experiences, because the Coen brothers are the best. They're arguably the greatest of all time, if there is such a thing.

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.

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.

Their way of working [the Coen brothers] is always kept pretty mysterious. I was so curious to see how they make these movies. It was just such a joy - they seem to have so much fun making their movies.

And they're [Coen brothers] so smart, they're so witty, they have such an extraordinary way of communicating with an audience in a such a clean way - with just a few lines or just a gesture from a character, they say so much.

Same with the Coen brothers and Warren [Beatty]. And then slowly you get to know each one of them as a person, and that becomes a kind of separate entity, where you just know the human being.

I really like dramas that have a tone of comedy in them or the opposite, and those are done by people like Alexander Payne and Jason Reitman but also Spike Jonze and David O. Russell and Paul Thomas Anderson, the Coen Brothers.

I don't think every movie should be in 3D. I hope the Coen brothers don't do their next movie in 3D. I don't think they have any plans to.

I would love to work with anybody who has a good story to tell - Patrick Graham, Vikramaditya Motwane, Anurag Kashyap, Neeraj Ghaywan, Coen Brothers, Wes Anderson. I don't know why I was not considered for that Indian guy's part in 'The Grand Budapest Hotel.'

The Coen brothers are amazing; they're special.

Everything the Coen brothers do is brilliant.

I'm a fan of, like, the Coen Brothers, with the darker humor in it.

If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.

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.

You can do weird things on TV - there are happy stories, sad stories, dark stories. But with a movie, it always has to end satisfying. Unless you're the Coen brothers, and it ends with somebody getting shot in the head.

Making movies is never going to get better than working on a Coen brothers project.

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 don't know of an actor that the Coen brothers would come to and say, "Hey, I've got a movie for you to be in, if you want to do it," that would say, "No." That's the truth.

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.

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.

Everyone that works under the Coen brothers , in every department - makeup, hair, production design, wardrobe, so on and so forth, grip, lighting, tech, everything - they're the best. So to be on a set when you're working with the very best in the industry was a real privilege.

Anything that is absurd I see as a Coen brothers' influence! The Coen brothers are my favorite people period.

I am a big fan of the Coen Brothers; I like their kind of absurd, dark approach.

I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.

People are so used to seeing John Goodman as a loveable dad or the quirky characters he played in the Coen Brothers films.

I always wished there was somebody like the Coen Brothers and they appeared. And so yeah, my favorite role that I've ever done was in The Man Who Wasn't There. That's my very favorite character I've ever played.