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Rethinking infidelity ... a talk for anyone who has ever loved

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His amazing turn even made our Top Performances of list. Your character in this film is probably one of the most gentle, reassuring villains in recent movie history.

My take on it was that he was sort of Machiavellian. And the Coen Brothers, as you probably know, write very fully realized worlds. But the Coens write very fully realized characters, while also giving you room for invention. It was in the script that he was a phony, but it was my idea to make him kind of a relaxation Svengali.

In a way, he totally believes in that ethos. I was only 11 inbut I think at that time, people were genuinely questioning a lot of what had gone on before. And they believed less cynically that actual change could happen, for the betterment of everybody. Part of it was the Dionysian thing. I remember the Living Theater, and that whole notion that we should indulge ourselves in pleasure. The Coen Brothers did happen to choose people whose sound is distinct.

Film is, of necessity, a visual medium. I think the Coens also they pay attention to sound mixing, the use of music, and other aural elements more than a lot of directors do. Did you talk to them about the real-life inspirations for this story, and your character? We did, a little bit. We all felt a special responsibility, because we knew a lot of the people and places and experiences were personally theirs.

But I think we were cautious to not ask them questions of a personal nature, unless they wanted to come forward with something. They preserve the mystery of what art is about, by only revealing — to people they work with, to the press — only what they want. They actually said specifically that their father was nothing like that.

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Ethan did say that my character was based on somebody who was a friend of their family, although I think the cuckolding was not an actual thing that happened to their father. But I think my character was a well-known blowhard in the community who was always celebrated as a big deal, while being quite a transparent phony. When you play a character like that, you always want to make him as real as you can. And people who do the worst things rarely look at themselves as here evil.

Sky changeable, now sunny now cloudy. Loaned steward my Shakespeare — mate asked him if it was a low book. MBC Action is still airing old episodes of the show.

He thinks that if they just do what he says and relax, everything will be great. What do you think of that?

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People sometimes overpresume that Woody Allen films are like that. But much of what Woody Allen puts in his movies is invention. They have trouble with the in-between. A guy named Forbes Smiley, he was actually a college friend of mine. The screenplay also has references to other things that happened to Forbes Smiley, although most of it is invention. They thought I was going to make a biopic or something. But being able to invent gives you a lot of freedom. By the way, the film is called Also, a Villagerand that title comes from a program from John Wilkes Booth and Edwin Booth performing Julius Caesar together, two weeks before Lincoln is assassinated.

Did you tell the Coen Brothers about it?

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But with them, they have such a collegial idea about making movies, they really are quite open to things. I was shocked at how little direction they give from an acting point of view.

Only if they felt there was an important detail you were leaving out. They can cast whomever they want.

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They spend a lot of time casting, much more than most directors do. I was the first person cast in A Serious Man. I initially read the script long before I knew anything about who was going to play the other parts.

My take on it was that he was sort of Machiavellian. The mate sent up a man to bend a block to the main topmast cross tree. Issues that policy making bodies need to deal with include which jurisdiction should exercise powers, and which powers. I shall miss the Doctor.

So they looked at a scene from a film with her in it. That should take me at least a year. And Michael Stuhlbarg was originally considered for the role of the shtetl husband at the beginning of the film. It was only six weeks before they started shooting that they decided he was going to play Larry. They made the right choice, it seems. Even though nothing but shit happens to him for the whole film, you need to not get tired of that character. The film could so easily turn into a Jewish complaint, a rant, a television go here, and that was something we wanted to avoid.

As you get better with things, make them deeper, not bigger.

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Make it truer, more human. Great comedy always comes from the characters, instead of the punchlines. That ending sends you back to the movie. I felt like the movie, despite all the awful things that happen to Larry, is actually kind of a fond reminiscence about this character.

The tornado for the son and the cancer for the father are those things. Everything that seemed like such bad luck now seems pretty workaday. Originally, when they first conceived it, there was an equal shared story between the son and the father. This movie, it generates such strong feelings in both directions. That suggests to me that it really is a work of art.

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