The end result was Barton Fink, a film that has its main character experience a similar creative impasse. During this state of uncertainty they temporarily abandoned that project and started a new one. While embarking on their third film, Joel and Ethan Coen experienced a creative impasse. Its critical success offers an example of a viable alternative to those modes of production. This unique approach to the construction of the soundscape for Barton Fink stands in contrast with a majority of the general practices of Hollywood. As a result, the aural elements are truly homogeneous: all striving to complement the narrative. The integration of these elements is achieved principally through the Coens’ collaborative filmmaking efforts. One of the main reasons for the film’s highly communicative sonic environment is that it is expressed through a soundtrack that weaves together all of the aural ingredients. This is most evident in the ‘world’ they created for Barton Fink (1991). Joel and Ethan Coen have consistently used music, effects and dialogue to shape the atmosphere of their films. At the same time, Barnes offers some intriguing analysis of the finished film which demonstrates why attention to Barton Fink’s sound design is important for both practitioners and theorists alike. ![]() In so doing, Barnes illustrates a model that he suggests could be a template for better sound design practices within the Hollywood system. He takes us from the level of the script, through the shooting, and on into the sound mixing stage in order to elucidate the processes by which these filmmakers integrate sound into the larger work. Barnes draws on a variety of interviews with this long standing collaborative team – including some conducted by the author himself while completing his dissertation research – in order to flesh out the production methods of a group of filmmakers clearly as concerned with the expressive power of their film’s soundtrack as with the image. In this essay, Randall Barnes takes us deep into the concept of “designing a film for sound” using Barton Fink as a case study for examining the close working relationship between writer/directors Joel and Ethan Coen, sound designer Skip Lievsay, and composer Carter Burwell. I have decided after a slew of Coen Brothers films I currently have in my collection, that any project these guys are involved with deserve more than passing scrutiny.Barton Fink: Atmospheric Sounds of the Creative Mind Sound Practices of the Coen Brothersīy Randall Barnes Volume 11, Issue 8-9 / September 2007 28 minutes (6943 words) Excellent performances from John Turturo, John Goodman, Judy Davis, John Polito (often overlooked, but his scenes ALWAYS become his!!) and the inimitable Tony Shaloub. ![]() The trouble with Barton, however, is he does not have time for the common man because he has so romanticized their lot as well as his particular quest in speaking for them. ![]() After much cajoling to take the job from his agent, Barton arrives in Los Angeles determined to become the writer for the common man where he insists true stories live. John Goodman perfectly sums up everyone's frustration with Barton Fink when after a series of unfortunate occurrences, Barton asks him "Why me?" to which John's character answers "Because you don't LISTEN!" Set in 1930s Hollywood we follow the exploits of a one-hit wonder, Barton Fink, who has written a successful Broadway play and is summoned by the powers that be to Hollywood. He is so idealistic that he misses fantastic opportunities to become a writer for the ages because he wastes precious time proselytizing. ![]() He is so taken with the fact that he is a writer that he can't write. Barton Fink quite simply is a writer who cannot see the forest for the trees. I recently purchased "Barton Fink" along with "Miller's Crossinhg", another Coen Brothers gem.
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