from the new yorker.
TERRY GROSS: so since you’re writing a movie together now, can i ask you a little bit about what the writing process is when you write a movie together? do you write in the same room together? do you share ideas after you’ve written separately?
COEN 1: it’s mostly napping.
COEN 2: we go to the office. you know, we’re there. we’re in a room together. we take naps. but, you know, the important thing, we’re there at the office should we be inspired to actually write something.
from their fresh air interview.
i’m going to greece at the end of the week, and since it won’t be hot, exactly, i’ll be dressing exactly like gwyneth in the talented mr. ripley. superga sneaks (with bean boot laces like so), ivory cable-knit, #yolo. reading: maggie shipstead’s seating arrangements, matthew specktor’s american dream machine, and jess walter’s beautiful ruins.
read an early copy of meg wolitzer‘s latest, THE INTERESTINGS, out in april. lots to love about it. 1. some of it takes place at a summer arts camp in ’70s new england. 2. some of it takes place in wealthy new york city of the ’80s and ’90s. 3. has a lifelong love story, of sorts. 4. deals with issues of talent, potential and class. ie addresses everything i care about in this world.
am a solid nine years tardy to the party on adrian nicole leblanc‘s RANDOM FAMILY, out in…2004. which deals with oh, absolutely everything (sex, drugs, class, place, race, prison, food, children, boyfriends, clothes, justice system) in crisp, neutral prose that still manages to be absolutely captivating.