Screenwriters

"I'm a bit puzzled why most critics think Miller's Crossing is their best. I find it too cold and postmodern. But pretty much everything else is amazing. I think some of their lesser-loved films, like The Hudsucker Proxy and The Man Who Wasn't There are my favourites. But then, Barton Fink, Raising Arizona, No Country For Old Men… They're really the best films of our time. The Coens are better candidates for heroes of modern literature than Philip Roth, Don DeLillo, Will Self, Ian McEwan or any other award-winning novelist."

"The Coens seem to have less affinity for the cult of Lebowski than Bridges, so it's hard to imagine them being very proud of what they've spawned. But I can't think of two people I'd rather shoot the shit with. Besides Bridges, of course."

"You go for a man hard enough and fast enough, he don't have time to think about how many's with him; he thinks about himself, and how he might get clear of that wrath that's about to set down on him."

"The coin don't have no say! It's just you!"

"If the rule you followed brought you to this, of what use was the rule?"

"What's the most you've ever lost on a coin toss?"

"The crime you see now, it's hard to even take its measure. It's not that I'm afraid of it. I always knew you had to be willin' to die to even do this job. But, I don't want to push my chips forward and go out and meet somethin' I don't understand. A man would have to put his soul at hazard. He'd have to say: "O.K., I'll be part of this world.""

"The more you look, the less you really know."

"They got this guy, in Germany. Fritz Something-or-other. Or is it? Maybe it's Werner. Anyway, he's got this theory, you wanna test something, you know, scientifically — how the planets go round the sun, what sunspots are made of, why the water comes out of the tap — well, you gotta look at it. But sometimes you look at it, your looking changes it. Ya can't know the reality of what happened, or what would've happened if you hadn't-a stuck in your own goddamn schnozz. So there is no "what happened"? Not in any sense that we can grasp, with our puny minds. Because our minds... our minds get in the way. Looking at something changes it. They call it the "Uncertainty Principle". Sure, it sounds screwy, but even Einstein says the guy's on to something."

"Pete, it's a fool that looks for logic in the chambers of the human heart."

"Damn! We're in a tight spot!"

"The Dude abides."

"Nihilists! Fuck me. I mean, say what you like about the tenets of National Socialism, Dude, at least it's an ethos."

"Look, let me explain something to you. I'm not Mr. Lebowski. You're Mr. Lebowski. I'm the Dude. So that's what you call me. That, or His Dudeness … Duder … or El Duderino, if, you know, you're not into the whole brevity thing."

"Mind if I sit down? I'm carrying quite a load here."

"We're only interested in one thing, Bart. Can you tell a story? Can you make us laugh? Can you make us cry? Can you make us want to break out in joyous song? Is that more than one thing? Okay!"

"Prison life is more structured than most men care for…"

"Something pretty fucking weird is going on. Put your coat on and I'll drop you at home. But don't talk to either of 'em until I do. And don't worry. Believe me. These things always have a logical explanation. Usually."

"The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year — something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help — watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else — that's the theory, anyway. But what I know about is Texas … And down here... you're on your own."

"Our mother tried to get us to come here for many, many years … But, you know, life intervenes — we've been busy."

"That movie has more of an enduring fascination for other people than it does for us."

"My most important professional accomplishment? I think that it's that I'm so scintillating and engaging in an interview."

"There are certain things you should expect from a President. I ought to care more about you than I do about me... I ought to care more about what's right than I do about what's popular. I ought to be willing to give this whole thing up for something I believe in."

"Ambitious, ingenious and visually breathtaking, Pleasantville is a rarity in contemporary filmmaking; a fully-realized vision that succeeds on multiple levels. Writer and director Gary Ross has crafted a wondrous experience that satisfies as a comedy, a fantasy, a drama and a parable. Movies don't get much better than this."

"Gary Ross is amazing. He’s just — he always has a billion ideas of what he wants, but has a very clear perspective also; he just makes it work. He really does. He’s trying different things and making everything look amazing."

"You know, everyone thinks we got this broken down horse and fixed him, but we didn't. He fixed us. Every one of us. And I guess in a way, we fixed each other, too."

"He was a small horse, barely fifteen hands. He was hurting, too. There was a limp in his walk, a wheezing when he breathed. Smith didn't pay attention to that, he was looking the horse in the eye."

"I know you want it to stay pleasant around here, but — there are so many things … that are so much better. Like silly, or sexy, or dangerous … or brief. And every one of those things is in you all the time, if you just have the guts to look for them."

"Huck and — and the slave.... they … they were going up the river, trying to get free…. and — in trying to get free … they see that they're sort of free already…"

"There are some places … that the road doesn't go in a circle. There are some places where the road keeps going."

"Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are."

"I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it."

"I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick."

"I wish I were big."

"Writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you’ll have less to say and then it’ll go away completely!"

"This movie is about the fact that personal repression gives rise to larger political oppression.… That when we're afraid of certain things in ourselves or we're afraid of change, we project those fears on to other things, and a lot of very ugly social situations can develop."

"My tattoos symbolise something to me, after all they will remain with me forever."

"I OWE Christianity a debt, and so, I believe, does the world we have lived in for the last 2000 years."

"Christianity also owes me an explanation... For the bigotry, the wickedness, the inhumanity and the wilful ignorance which has also characterized much of its history."

"When all the hope is gone, there is no reason for pessimism."

"Even if mankind had any desire to rid itself of the Seven Deadly Sins, Greed had been assured of a place in our hearts by virtue of time. By writing it down on a piece of paper and parading it as law and belief, Greed could be resurrected at a moment's notice. That was the beauty of the written word. It was invariably taken at face value and granted permit to be spoken as the truth. It lived longer than the man. And wreaked havoc in the process."

"Did you know that if you removed all nerve cells from your brain and laid them out end-to-end in a straight line, you would die?"

"Is Corona laboratory-made? Nah. I think it's way more reasonable to assume that a bat fucked a pangolin. And some guy then fucked that pangolin. Mystery solved. Occam's razor."

"After the Soviet Union turned into many, many little non-Soviet countries... it was crazy. It was like a lot of pop-ups on Firefox, and you try to click them away, but it doesn't work!"

"Don't cry for me, cry for Argentina!"

"Sometimes I surprise myself with my own face."

"My nerdy teenage rebellion was to confront my parents with the scientific method, challenging their weird beliefs, asking for peer-reviewed data and scientific context. I remember that one day when I was 15, I asked my mother to use her divining rod and a piece of paper to determine the first 30 decimal values of pi. It took her three hours and not a single one was right. That felt like a huge success, but she just told me she had a bad day because of the full moon. Tomorrow she would try again and would succeed. And if not, who says that the 30 digits of pi in the math books are actually right? Maybe her version was correct in the first place and she had access to a higher knowledge? It simply wasn't possible to challenge her."

"Conspiracy theories (actually: hypotheses) are comforting, anthropocentric, affirming constructs. They assume that someone runs the world, that someone is in control. The sad truth is that nobody is in control. That's way more terrifying."

"It's not working from home, it's living at work."

"[Glossary of Broken Dreams] was born out of the frustration that debate culture (not only) on digital platforms has become radically fragmented and fractalized, making it hard to call it discourse. It's a Tower of Babel-like context confusion that pleases me as a nerd, but as a political being who wants society to progress, it doesn't please me at all. [...] I just thought it was time for something like a political spring cleaning of concepts. Because picking up the broom and taking a chance to get rid of stuff is the only way to prevent us all from becoming social liberal hoarders. One of my examples is the concept of privacy that, at the moment, everyone coddles like a puppy. Let me say this, as a good old Neo-leftist, I'm having problems with the conservative and deeply bourgeois can of worms that the privacy debate entails. I think it's time to change our thought patterns here. Instead of trying to find ways to defend our privacy come hell or high water, we should ask ourselves why privacy is such a major concern for us? Is what we're trying to achieve here just reformist symptom-control rather than a solution to the underlying problems?"