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Ray Pride

By Ray Pride Pride@moviecitynews.com

Behind the trailer for the Coens' A Serious Man

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The closing crawl of credits is a tribute to Stanley Kubrick’s pluperfect single-take mood-setter for The Shining? Scott Macaulay has that and other instructive bits behind the making of the swell one-minute-forty short at Film in Focus. Mark Woollen of Mark Woollen and Associates cut the trailer, and also was responsible for the haunting Little Children coming attractions, also discussed at the link. “Myles Bender, Senior Vice President of Creative Advertising, Focus Features, oversaw the creative direction and remembers his first meeting with the Coens to discuss the concept. “They wanted something ‘different,’” Bender says, remembering the Coens asking, “‘Can you find one scene from the movie for our trailer and not do the traditional trailer structure?’ And then one of them said, ‘Maybe just show the guy getting his head bashed in for 30 seconds.’ I took that suggestion a little more seriously than they expected me to!” The directive to “find one scene” recalled for both Bender and Woollen what Bender calls “one of the best teaser trailers ever made, the one for The Shining, which consists of a single shot in which blood pours out of the elevator. It encompassed everything you needed to know about that film.” Also remembering another favorite trailer—M. Night Shamalayan’s Unbreakable, which is structured around a single scene of Bruce Willis waking up in a doctors’ office after a train crash—Bender sat down with Woollen with the idea of extracting a resonant moment from the film that would convey the idea “that this is a movie for people who love Coen Brothers films.” He says he didn’t worry too much about explicating the film’s narrative because “it was more important for us to convey the vibe, ‘the essence of Coen-ness,’ than the premise.” [More at the link.]

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon