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13 Fast Facts About Easy Rider

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Easy Rider’s tagline of “A man went looking for America and couldn’t find it anywhere” transcended moviedom. Once called The Loners, Dennis Hopper co-wrote, directed, and starred in the Oscar-nominated biker flick about two men riding motorcycles from Los Angeles to New Orleans to Florida during the tumult of the Vietnam-era ’60s. Peter Fonda and Jack Nicholson also starred, and Fonda co-wrote the script with Terry Southern and Hopper, and produced it.

With a budget of well under $1 million, the 1969 guerilla film went on to gross more than $60 million worldwide; the Criterion Collection referred to the movie as “the definitive counterculture blockbuster.” After filming finished in 1968, it took Hopper a year to edit 80 hours of footage, which included scenes of real drug use, and a jaw-dropping conclusion. Despite a difficult shoot, it launched the prosperous New Hollywood period of moviemaking, and ignited a revolution in cinema that we haven’t recaptured since. Here are 13 far out facts about the seminal movie.

1. THE MOVIE WAS MADE FOR THE YOUTH OF THE TIME.

Before Easy Rider, Hollywood was churning out happier films starring the effervescent Doris Day, but Dennis Hopper’s film changed that. “They were making films like Pillow Talk and The Glass Bottom Boat. Gidget? That’s not a kids’ film. Beach Blanket Bingo? C’mon,” Fonda told The Hollywood Reporter. “Those were not really films of the youth that I had grown into and up with, shutting away the establishment, going on their own. We made a movie for these people that didn’t have their own movie.”

Karen Black, who played one of the prostitutes in the movie, agreed with Fonda’s sentiment. “When you went to see a movie like Easy Rider and when you saw these guys really smoking grass by the fire, and really the camaraderie was warm, real, and rare, you went, ‘What the hell am I looking at? This has value! This has a completely different kind of value than Pillow Talk,” she said in the documentary Easy Riders, Raging Bulls. “This is something extraordinary. I want more of that. And then I think it went a bit far, because I kept seeing movie people vomit.”

2. THE PRELIMINARY ENDING INVOLVED BILLY AND WYATT SAILING INTO THE SUNSET.

One of the most shocking things about Easy Rider is its ending, where both of the leads violently perish. “The initial idea had to do with a couple of young guys who are fed up with the system, want to make one big score, and split,” Terry Southern told Creative Screenwriting. “Use the money to buy a boat in Key West and sail into the sunset was the general notion, and that was slated to be the film’s final poetic sequence. It wasn’t until the end that it took on a genuinely artistic dimension—when it suddenly evolved into an indictment of the American redneck, and his hatred and intolerance for anything remotely different from himself—somewhat to the surprise of Den Hopper: ‘You mean kill ‘em both? Hey, man, are you outta your gourd?!?’ I think for a minute he was still hoping they would somehow beat the system and sail into the sunset with a lot of loot and freedom. But of course, he was hip enough to realize, a minute later, that their death was more or less mandatory.”

3. IT WAS ONE OF THE FIRST FILMS TO INTEGRATE FOUND MUSIC.

Instead of hiring a musician to compose a score for the film, Hopper decided to use pre-recorded music from Bob Dylan, The Band, Steppenwolf, and Jimi Hendrix on the soundtrack. “No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene,” Hopper told Interview Magazine. “But I wanted Easy Rider to be kind of a time capsule for that period, so while I was editing the film I would listen to the radio. That’s where I got ‘Born to Be Wild’ and ‘The Pusher’ and all those songs.”

The filmmakers had to show the movie to the different bands involved in order to get licensing approval, and each band received $1000. They showed it to Dylan, whose song “It’s Alright, Ma (I’m Only Bleeding)” was in two scenes, but Dylan said they couldn’t use it. “He said, ‘Have [Roger] McGuinn do this first part, but you can’t do it after that,’” Fonda told Daily Camera. “I said, ‘But, Bob, any good fight’s a combination of punches.” McGuinn covered Dylan’s song, and Dylan and McGuinn wrote the closing credit song, “The Ballad of Easy Rider,” which was sung by McGuinn, and didn’t have Dylan’s name on it.

4. DENNIS HOPPER CLAIMED TERRY SOUTHERN ONLY CONTRIBUTED THE TITLE.

“Terry Southern never wrote one f*cking word of Easy Rider. Only the title Easy Rider came from him,” Hopper told The Guardian. “He broke his hip; he couldn’t write. I used his office and I dictated the whole f*cking thing in 10 days.”

But Southern saw it in another way. “Peter was to be the actor/producer, Dennis the actor/director, and a certain yours truly, the writer,” Southern told Creative Screenwriting. “After they had seen a couple of screenings of it on the coast, I got a call from Peter. He said that he and Dennis liked the film so much they wanted to be in on the screenplay credits. Well, one of them was the producer and other was the director so there was no way the Writers Guild was going to allow them to take a screenplay credit unless I insisted.” Not listening to the WGA, Southern allowed them to have their credits on the film, which was largely improvised.

However, Fonda had more positive things to say about Southern’s contributions: “He gave us dark humor and a literary panache that Dennis and I did not have,” Fonda told The A.V. Club. “Having him with us as a writer on the script put it above periscope depth. People would say, ‘Wow, Terry Southern co-wrote that. I wonder what that's about?’” All three of them received Oscar nominations for the film’s screenplay.

5. RIP TORN SUED HOPPER OVER THE JACK NICHOLSON ROLE.

As the story goes, in 1967, Rip Torn had dinner with Fonda and Hopper, who were considering casting him in the role of lawyer George Hanson. Hopper went on The Tonight Show in 1994 and recounted how Torn pulled a knife on Hopper during the dinner, thus losing the gig. But Torn said it was the other way around—Hopper pulled the knife on him. (It was supposedly a butter knife.) “Dennis jumped back and knocked Peter on the floor, and I said, ‘There goes the job,’” Torn told The New York Times. Fed up with Hopper ruining his career, Torn sued Hopper for defamation and won almost $1 million.

Bert Schneider, one of film’s executive producers and financiers, then suggested Hopper cast Nicholson as Hanson—as long as he agreed to work for scale, which was $392 per week. “I’ll tell you one thing mister, it was the best $392 I ever spent,” Fonda said at the AFI Life Achievement Award: A Tribute To Jack Nicholson banquet.

6. NICHOLSON KNEW THE MOVIE WOULD BE A HIT.

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In an interview with Film Comment, the interviewer asked Nicholson if he knew the film would be a hit, and he said yes. “Bob [Rafelson] and I were involved in writing Head when Dennis and Peter brought in a 12-page treatment,” Nicholson said. “I felt it would be a successful movie right then. Because of my background with Roger Corman, I knew that my last motorcycle movie had done $6 to $8 million from a budget of less than half-a-million. I thought the moment for the biker film had come, especially if the genre was moved one step away from exploitation toward some kind of literary quality.”

Before Easy Rider, Hopper had starred in a biker movie called The Glory Stompers, Fonda did the Corman movie The Wild Angels, and Nicholson acted in Hells Angels on Wheels.

7. THE “WE BLEW IT" LINE WAS FILMED AFTER THE MOVIE WRAPPED.

Near the end of the film, Wyatt and Billy sit around a campfire, and Wyatt’s excited about how rich they are. Wyatt looks into the fire and utters, “You know Billy, we blew it,” which foreshadows the ending, though is also open to interpretation. “It was two weeks after we wrapped the movie, we realized we didn’t have the last campfire scene,” Fonda told Daily Camera. “So we assembled the crew and went into the Santa Monica Mountains—if you don’t light it, you can’t see the difference—and we said we’re in Florida.”

Hopper and Fonda argued about the dialogue. “He wanted me to say all this stuff about how we blew our inheritance, we messed up our heritage ... We were elevating the level of our conversation.” Fonda wanted to mumble his line in a Warren Beatty way, and Hopper was at first against the idea, but once they filmed the scene Hopper was amenable.

“Lots of people have asked me over the years, ‘What did you mean by ‘we blew it’?’” Fonda said. “And I say, ‘Look out the window. If you don’t think we’ve blown it, you’ve got to take a closer look.’”

8. FONDA TRIED TO GET HOPPER FIRED BEFORE THE MOVIE WAS EVEN WRITTEN.

Schneider and Rafelson created The Monkees and used that money to fund the film. They gave Hopper $20,000 to do some preliminary shooting in New Orleans, and if they liked what they saw, they would give him more money to shoot the entire thing. Hopper filmed the NOLA scenes using Bolex 16mm cameras, which gave the movie a psychedelic sheen. “Peter and Bill Hayward are recording me,” Hopper told Interview Magazine. “Every time I turn around they’re filming me—and I’m not sure why—but I’m saying things like, ‘We’re going to win Cannes, man! We’re young! We’re going to take our energy and our strength and we’re going to take this thing all the way! Just trust me and do what I’m saying! Nobody shoot any film until I tell them to!’ I mean, we were all in open fights with one another at the time. I didn’t find this out until Bert called me into his office after the movie was released, but Peter and Bill apparently wanted to pay him back the money he’d given us for Easy Rider and fire me. This is Peter and my brother-in-law, okay? This is before we’ve written a screenplay.”

Schneider didn’t care about the footage and told the guys, “Well, Hopper sounds really excited. He says he’s going to win Cannes. That sounds like a hell of an idea.” And of course the movie ended up winning a Best First Work award at the 1969 Cannes Film Festival, where it was also nominated for the Palme d’Or.

9. FONDA AND HOPPER HAD A FALLING OUT OVER MONEY.

The actors clashed over writing credits and how Southern’s money should be split between the men. When Southern left the project, Fonda gave a percentage of Southern’s money to the production company and Hopper’s brother-in-law, Bill Hayward, who was an associate producer on the film. This made Hopper feel like Fonda cheated him. “I just think that [Hopper] was so caught up in his own megalomania and his own bitterness that he couldn't see that I treated him quite fairly and that I respected his genius and his work,” Fonda told The Independent.

Unfortunately, Hopper held a grudge until the day he died, in 2010. “Well, I knew that Dennis was dying and I made many attempts to see Dennis as did Bert Schneider,” Fonda said. “But he refused to see us. The funeral service was in a chapel in Taos, New Mexico. I rented a private jet and flew in, but I was not allowed in the chapel. So as much as I wanted to pay my respects, to Dennis and his family, I was not allowed to be a part of it.”

10. FONDA’S FAMOUS DAD DIDN’T UNDERSTAND THE MOVIE.

The esteemed Henry Fonda saw a screening of his son’s film. “I had him come down and look at an early cut,” the younger Fonda told Daily Camera. “We had to get Dennis out of the room to get it below four hours. My dad watched it and then I went over the next day to his house. He was very serious. He said, ‘Look son, I know you have all your eggs in this basket. And I’m worried about it because the film is inaccessible. We don’t see where you’re going and why? I just don’t think many people will get it.’ Even after [it was successful] he thought I was just a loose cannon, until he worked for me for one day.”

11. YOU CAN PAY TO TAKE THE EASY RIDER BIKE TOUR.

If you like riding motorcycles, have 15 days to spare, and about $4301 to $7710 burning a hole in your pocket, sign up for the Easy Rider Motorcycle Tour. The 2589-mile path ventures to some of the movie’s real filming locations, from L.A. to Death Valley to Colorado to New Orleans. According to the tour’s website, they’ve worked with Sony Pictures in authenticating the locales. “The Easy Rider Movie Tour will have you living the dream you have been waiting to experience since the first time you saw the movie,” reads the summary.

12. AN ORIGINAL CAPTAIN AMERICA MOTORCYCLE SOLD FOR $1.35 MILLION.

There’s been much dispute over who designed and built the four Harley-Davidson motorcycles, a.k.a. choppers, used in the movie. Cliff Vaughs said he did it, but Peter Fonda said he designed the sketches and built them: “I built the motorcycles that I rode and Dennis rode. I bought four of them from Los Angeles Police Department.” Vaughs worked on the movie for about a month before being fired, therefore his name doesn’t appear in the credits. Three of the bikes were stolen, and the final one was destroyed in the film’s finale but was later restored. Fonda gave the bike to actor Dan Haggerty, who eventually sold it to a collector named Michael Eisenberg. In October 2014, Profiles in History auctioned off the bike; the bike sold to an anonymous winner for $1.35 million and became the most expensive motorcycle in the world.

13. IN 2012, AN EASY RIDER SEQUEL WAS MADE.

Phil Pitzer, an Ohio lawyer and producer, realized the sequel rights to Easy Rider were available, so in 2007 he sued Bob Rafelson and Bert Schneider to prevent them from claiming they owned the rights. Pitzer won the case and moved forward with the sequel. The original title was Easy Rider: Scarlet Cross, but he changed the title to Easy Rider: The Ride Back. Unlike the first film, the sequel went straight to DVD and didn’t make a dent in American culture.

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13 Fantastic Museums You Can Visit for Free on Saturday
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On Saturday, September 23, museums and cultural institutions across the United States will open their doors to the public for free, as part of Smithsonian magazine’s annual Museum Day Live! event. Hundreds of museums are set to participate, ranging from world-famous institutions in major cities to tiny, local museums in small towns. While the full list of museums can be viewed, and tickets can be reserved, on the Smithsonian website, we’ve collected a small selection of the fantastic museums you can visit for free this Saturday.

1. NEWSEUM // WASHINGTON, D.C.

The Newseum in Washington, D.C. is an entire museum dedicated to the First Amendment. Celebrating freedom of religion, speech, press, assembly and petition, the museum features exhibits on civil rights, the Berlin Wall, and the history of news media in America. Their latest special exhibitions take a look back at the event of September 11, 2001 and go inside the FBI's crime-fighting tactics.

2. INTREPID SEA, AIR & SPACE MUSEUM // NEW YORK CITY, NEW YORK

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New York's Intrepid Sea, Air & Space Museum doesn’t just showcase America’s military and maritime history—it is a piece of that history. The museum itself is one of the Essex-class aircraft carriers built by the United States Navy during World War II. Visitors can explore its massive deck and interior, and view historic airplanes, a real World War II submarine, and a range of interactive exhibits. Normally, a ticket will set you back a whopping $33 (or $19 for New York City residents), but on Saturday, general admission is free with a Museum Day Live! ticket.

3. AUTRY MUSEUM OF THE AMERICAN WEST // LOS ANGELES, CALIFORNIA

Perfect for art lovers, history buffs, and cinephiles alike, the Autry Museum of the American West (named for legendary singing cowboy Gene Autry) offers up an eclectic mix of art, historical artifacts from the real American West, and Western film memorabilia and props.

4. MUSEUM OF ARTS AND SCIENCES // DAYTONA BEACH, FLORIDA

A massive art, science, and history museum located on a 90-acre nature preserve, the Museum of Arts and Sciences features the largest collection of Florida art anywhere in the world, as well as the largest collection of Coca-Cola memorabilia in all of Florida. Its diverse exhibits are alternately awe-inspiring, informative, and quirky, ranging from an exploration of 2000 years of sculpture art to an exhibition of 19th and 20th century advertising posters.

5. INTERNATIONAL MUSEUM OF THE HORSE AT THE KENTUCKY HORSE PARK // LEXINGTON, KENTUCKY

The International Museum of the Horse explores the history of—you guessed it!—the horse. That might sound like a narrow scope, but the museum doesn’t just display horse racing artifacts or teach you about modern horse breeds. Instead, it endeavors to tackle the 50-million-year evolution of the horse and its relationship with humans from ancient times to modern times.

6. THE PEGGY NOTEBAERT NATURE MUSEUM // CHICAGO, ILLINOIS

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The 160-year-old Peggy Notebaert Nature Museum is pulling out all the stops for this year’s Museum Day Live! In addition to their vast exhibits of animal specimens and cultural artifacts, the museum will be hosting a live animal feeding and a butterfly release throughout the day.

7. OGDEN MUSEUM OF SOUTHERN ART // NEW ORLEANS, LOUISIANA

The Ogden Museum of Southern Art aims to teach visitors about the rich culture and diverse visual arts of the American South. Right now, visitors can view a collection of William Eggleston's photographs and check out the museum's 10th annual invitational exhibition of ceramic teacups and teapots.

8. BALTIMORE MUSEUM OF INDUSTRY // BALTIMORE, MARYLAND

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Located in a 19th century oyster cannery on the Baltimore waterfront, the Baltimore Museum of Industry tells the story of American manufacturing from garment making to video game design. Visitors this weekend can meet video game designers and create custom games at the museum’s interactive “Video Game Wizards” exhibit.

9. SYLVAN HEIGHTS BIRD PARK // SCOTLAND NECK, NORTH CAROLINA

You can meet 2000 birds from around the world this weekend at the 18-acre Sylvan Heights Bird Park. Visitors to the massive garden can walk through aviaries displaying birds from every continent except Antarctica, including ducks, geese, swans, and exotic birds from all over the world.

10. DELTA BLUES MUSEUM // CLARKSDALE, MISSISSIPPI

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Visitors to the Delta Blues Museum can learn about the unique American musical art form in “the land where blues began,” with audiovisual exhibits centered on blues and rock legend Don Nix, as well as Paramount Records illustrator Anthony Mostrom.

11. NATIONAL MUSEUM OF NUCLEAR SCIENCE & HISTORY // ALBUQUERQUE, NEW MEXICO

America’s only congressionally chartered museum dedicated to the story of the Atomic Age, the National Museum of Nuclear Science & History features exhibits on everything from nuclear medicine to representations of atomic power in pop culture. Adult visitors to the museum will delight in its impressively nuanced take on nuclear technology, while kids will love the museum’s outdoor airplane exhibit and hands-on science activities at Little Albert’s Lab.

12. MUSEUM OF THE MOUNTAIN MAN // PINEDALE, WYOMING

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Dedicated to the mountain men who explored and settled Wyoming in the 19th century, the Museum of the Mountain Man brings American folklore and legends to life. The museum features exhibits on the Rocky Mountain fur trade and tells the story of American folk legend and famed mountain man Hugh Glass (the man Leonardo DiCaprio won an Oscar playing in 2015's The Revenant).

13. BESH BA GOWAH ARCHAEOLOGICAL PARK AND MUSEUM // GLOBE, ARIZONA

Arizona’s Besh Ba Gowah Archaeological Park and Museum lets visitors connect with history firsthand. The museum is home to the ruins and artifacts of the Salado Indians who inhabited Arizona from the 13th century through the 15th century, and even lets visitors wander through an 800-year-old Salado pueblo.

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20 Facts About Your Favorite Coen Brothers Movies
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Ethan Coen turns 60 years old today, if you can believe it. Since bursting onto the scene in 1984 with the cult classic Blood Simple, the younger half of (arguably) the most dynamic moviemaking sibling duo in Hollywood has helped create some of the most memorable and quirky films in cinematic history, from Raising Arizona to Fargo and The Big Lebowski to No Country For Old Men. To celebrate the monumental birthday of one of the great writer-directors of our time (though he’s mostly uncredited as a director), here are some facts about your favorite Coen brothers movies.

1. THE COENS THINK BLOOD SIMPLE IS “PRETTY DAMN BAD.”

Fifteen years after Blood Simple’s release, the Coens reflected upon their first feature in the 2000 book My First Movie. “It’s crude, there’s no getting around it,” Ethan said. “On the other hand, it’s all confused with the actual process of making the movie and finishing the movie which, by and large, was a positive experience,” Joel said. “You never get entirely divorced from it that way. So, I don’t know. It’s a movie that I have a certain affection for. But I think it’s pretty damn bad!”

2. KEVIN COSTNER AND RICHARD JENKINS AUDITIONED FOR RAISING ARIZONA.

Kevin Costner auditioned three times to play H.I., only to see Nicolas Cage snag the role. Richard Jenkins had his first of many auditions for the Coens for Raising Arizona. He also (unsuccessfully) auditioned for Miller's Crossing (1990) and Fargo (1996) before calling it quits with the Coens. In 2001, Joel and Ethan cast Jenkins in The Man Who Wasn't There, even though he had never auditioned for it.

3. THE BROTHERS TURNED DOWN BATMAN TO MAKE MILLER’S CROSSING.

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After Raising Arizona’s success established them as more than one-hit indie film wonders, the Coens had some options with regard to what project they could tackle next. Reportedly, their success meant that they were among the filmmakers being considered to make Batman for Warner Bros. Of course, the Coens ultimately decided to go the less commercial route, and Tim Burton ended up telling the story of The Dark Knight on the big screen.

4. BARTON FINK AND W.P. MAYHEW WERE LOOSELY BASED ON CLIFFORD ODETS AND WILLIAM FAULKNER.

The Coens acknowledge that Fink and Odets had similar backgrounds, but they had different personalities: Odets was extroverted, for one thing. John Turturro, not his directors, read Odets’s 1940 journal. The Coens acknowledged that John Mahoney (Mayhew) looks a lot like the The Sound and the Fury author.

5. THE COENS' WEB OF DECEPTION IN FARGO GOES EVEN FURTHER THAN THE OPENING CREDITS. 

While the tag on the beginning of the movie reads “This is a true story. The events depicted in this film took place in Minnesota in 1987,” Fargo is, by no stretch of the imagination, a true story. During the film's press tour, the Coens admitted that while not pinpoint accurate, the story was indeed inspired by a similar crime that occurred in Minnesota, with Joel stating, “In its general structure, the film is based on a real event, but the details of the story and the characters are fictional.”

However, any and all efforts to uncover anything resembling such a crime ever occurring in Minnesota come up empty, and in an introduction to the published script, Ethan pretty much admitted as much, writing that Fargo “aims to be both homey and exotic, and pretends to be true." 

6. THEY WANTED MARLON BRANDO TO PLAY JEFFREY LEBOWSKI.

According to Alex Belth, who wrote the e-book The Dudes Abide on his time spent working as an assistant to the Coens, casting the role of Jeffrey Lebowski was one of the last decisions made before filming. Names tossed around for the role included Robert Duvall (who passed because he wasn’t fond of the script), Anthony Hopkins (who passed since he had no interest in playing an American), and Gene Hackman (who was taking a break at the time). A second “wish list” included an oddball “who’s who," including Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine.

The Coens’ ultimate Big Lebowski, however, was the enigmatic Marlon Brando, who by that time was reaching the end of his career (and life). Apparently, the Coens amused themselves by quoting some of their favorite Jeffrey Lebowski lines (“Strong men also cry”) in a Brando accent. The role would eventually go to the not-particularly-famous—albeit pitch-perfect—veteran character actor David Huddleston. In true Dude fashion, it all worked out in the end.

7. JOEL COEN WOOED FRANCES MCDORMAND ON THE SET OF BLOOD SIMPLE.

Ethan Coen, Frances McDormand and Joel Coen at the Oscars
Ethan Coen, Frances McDormand, and Joel Coen celebrate their Oscar wins in 1997.
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Coen and McDormand fell in love while making Blood Simple and got married a couple of years later, after production wrapped. McDormand told The Daily Beast about the moment when she roped him in. “I’d only brought one book to read to Austin, Texas, where we were filming, and I asked him if there was anything he’d recommend,” she said. “He brought me a box of James M. Cain and Raymond Chandler paperbacks, and I said, ‘Which one should I start with?’ And he said, ‘The Postman Always Rings Twice.’ I read it, and it was one of the sexiest f*ckin’ books I’ve ever read. A couple of nights later, I said, ‘Would you like to come over and discuss the book?’ That did it. He seduced me with literature. And then we discussed books and drank hot chocolate for several evenings. It was f*ckin’ hot. Keep it across the room for as long as you can—that’s a very important element.”

8. O BROTHER, WHERE ART THOU? WAS ORIGINALLY INSPIRED BY THE WIZARD OF OZ.

Joel Coen revealed as much at the 15th anniversary reunion. “It started as a 'three saps on the run' kind of movie, and then at a certain point we looked at each other and said, 'You know, they're trying to get home—let's just say this is The Odyssey. We were thinking of it more as The Wizard of Oz. We wanted the tag on the movie to be: 'There's No Place Like Home.’”

9. THE ACTORS IN FARGO WENT THROUGH EXTENSIVE TRAINING TO GET THEIR ACCENTS RIGHT.

Having grown up in Minnesota, the Coens were more than familiar with the idiosyncrasies of the “Minnesota nice” accent, but much of the cast—including Frances McDormand and William H. Macy—needed coaching to get the intricacies right. Actors were even given copies of the scripts with extensive pronunciation notes. According to dialect coach Larissa Kokernot, who also appeared as one of the prostitutes Gaear and Carl rendezvous with in Brainerd, the “musicality” of the Minnesota nice accent comes from a place of “wanting people to agree with each other and get along.” This homey sensibility, contrasted with the ugly crimes committed throughout the movie, is, of course, one of the major reasons why the dark comedy is such an enduring classic.

10. NICOLAS CAGE'S HAIR REACTED TO H.I.'S STRESS LEVEL IN RAISING ARIZONA.

Ethan claimed that Cage was "crazy about his Woody Woodpecker haircut. The more difficulties his character got in, the bigger the wave in his hair got. There was a strange connection between the character and his hair."

11. A PROP FROM THE HUDSUCKER PROXY INSPIRED THE MAN WHO WASN’T THERE.

Billy Bob Thornton in the Coen brothers' 'The Man Who Wasn't There' (2001)
© 2001 - USA Films

A bit of set dressing from 1994’s The Hudsucker Proxy eventually led to 2001’s The Man Who Wasn’t There. In a barbershop scene, there’s a poster hanging in the background that features a range of men’s hairstyles from the 1940s. The brothers liked the prop and kept it, and it’s what eventually served as the inspiration for The Man Who Wasn’t There.

12. GEORGE CLOONEY SIGNED ON TO O BROTHER, WHERE ART THOU? BEFORE EVEN READING THE SCRIPT.

The brothers visited George Clooney in Phoenix while he was making Three Kings (1999), wanting to work with him after seeing his performance in Out of Sight (1998). Moments after they put their script on Clooney’s hotel room table, the actor said “Great, I’m in.”

13. A SNAG IN THE MILLER’S CROSSING SCRIPT ULTIMATELY LED TO BARTON FINK.

Miller’s Crossing is a complicated beast, full of characters double-crossing each other and scheming for mob supremacy. In fact, it’s so complicated that at one point during the writing process the Coens had to take a break. It turned out to be a productive one: While Miller’s Crossing was on pause, the brothers wrote the screenplay for Barton Fink, the story of a writer who can’t finish a script.

14. INTOLERABLE CRUELTY IS THE FIRST COEN MOVIE THAT WASN’T THE BROTHERS’ ORIGINAL IDEA.

In 1995, the Coens rewrote a script originally penned by other screenwriters, Robert Ramsey, Matthew Stone, and John Romano. They didn’t decide to direct the movie, which became Intolerable Cruelty, until 2003.

15. THE LADYKILLERS WAS WRITTEN FOR BARRY SONNENFELD TO DIRECT.

A still from the Coen Brothers' 'The Ladykillers.'
Melinda Sue Gordon, SMPSP - © 2004 - Touchstone Pictures. All rights reserved.

The Coens effortlessly jump from crime thriller to comedy without missing a beat. So when they were commissioned to write a remake of the British black comedy The Ladykillers for director Barry Sonnenfeld, it seemed to fall in line with their cinematic sensibilities. When Sonnenfeld dropped out of the project, the Coens were hired to direct the film.

16. BURN AFTER READING MARKED THE FIRST TIME SINCE MILLER’S CROSSING THAT THE COENS DIDN’T WORK WITH THEIR USUAL CINEMATOGRAPHER, ROGER DEAKINS.

Instead, eventual Academy Award-winner Emmanuel Lubezki acted as the director of photography. The Coens would work with Deakins again on every one of their films until 2013’s Inside Llewyn Davis.

17. IT TOOK SOME CONVINCING TO GET JAVIER BARDEM TO SAY “YES” TO NO COUNTRY FOR OLD MEN

Though it’s hard to imagine No Country for Old Men without Javier Bardem’s menacing—and Oscar-winning—performance as antagonist Anton Chigurh, he almost passed on the role. “It’s not something I especially like, killing people—even in movies,” Bardem said of his disdain for violence. “When the Coens called, I said, ‘Listen, I’m the wrong actor. I don’t drive, I speak bad English, and I hate violence.’ They laughed and said, ‘Maybe that’s why we called you.”’

18. PATTON OSWALT AUDITIONED FOR A SERIOUS MAN.

Patton Oswalt auditioned for the role of the obnoxious Arthur Gopnik in A Serious Man, a part that ultimately went to Richard Kind. Oswalt talked about his audition while appearing on Marc Maron’s WTF podcast, in which it was also revealed that Maron was being considered for the lead role of Larry Gopnik (the role that earned Michael Stuhlbarg his first, and so far only, Golden Globe nomination).

19. THE CAT IN INSIDE LLEWYN DAVIS WAS “A NIGHTMARE.”

A photo of Oscar Isaac in the Coen brothers' 'Inside Llewyn Davis' (2013).
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Ulysses, the orange cat who practically stole Inside Llewyn Davis away from Oscar Isaac, was reportedly a bit of a diva. “The cat was a nightmare,” Ethan Coen said on the DVD commentary. “The trainer warned us and she was right. She said, uh, ‘Dogs like to please you. The cat only likes to please itself.’ A cat basically is impossible to train. We have a lot of footage of cats doing things we don't want them to do, if anyone's interested; I don't know if there's a market for that.”

20. THE COEN BROTHERS PROBABLY DON’T LOVE THE BIG LEBOWSKI AS MUCH AS YOU DO. 

We’re assuming the Coen brothers are plenty fond of The Dude; after all, he doesn’t end up facing imminent death or tragedy, which is more than most of their protagonists have going for them. But in a rare Coen brothers interview in 2009, Joel Coen flatly stated, “That movie has more of an enduring fascination for other people than it does for us.”

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