background image
make the script readable," Ethan adds. Eventually, someone else on
their production team will add technicalities like scene numbers. "They
will make it a little bit more user-friendly for people who have to break
down the script for production information," Joel says.
Oftentimes, all the brothers will write for a slugline is the name of
the location, such as "PIT." Since they rarely bother with clarifying in-
teriors, exteriors or even time of day, which they sometimes put in
their descriptions, their style flows smoothly, proving that when in-
formation is kept simple, not only does it read faster, but it remains ob-
vious and in no need of further explanation. Consider this example
from the 6-12-09 draft:
As seen in this less-is-more approach, the scene works perfectly by
conveying everything the reader needs to know, without adding any
superfluous information.
THE FINAL CUT
Amusingly, for filmmakers who made a film titled The Man Who
Wasn't There, that is the perfect description for their longtime, reclu-
sive British film editor named Roderick Jaynes, which is a pseudonym
the brothers use when editing their own films. As far as aliases go,
Jaynes is their most famous, but they've also written a commentary
track full of false film information under their faux film historian alias,
Kenneth Loring, (played by an
actor), who can be heard on
the Blood Simple DVD. Simi-
larly, they wrote comments for
Mortimer Young, who also per-
petuates false information on
The Big Lebowski DVD. Yet
Jaynes was their first alias and,
as Joel explained long ago, the
brothers had a simple reason
for his creation: "There were al-
ready enough Coens in the
credits of our movies."
January/February 2011 creativescreenwriting
|
21
STREET
Mattie strides along, looking at facades. She stops, looking at the
signage on a barn-like building:
Col. G. Stonehill. Licensed Auctioneer. Cotton Factor.
INSIDE
Mattie steps to the doorway of an office set in a corner of a stable.