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Benjamin Garland
Daily Stormer
February 5, 2016
Ethan and Joel Coen, the Hollywood Jews known for actually making some halfway decent movies, have come out and given the ridiculous uproar over Oscar ‘diversity quotas’ a well-deserved lashing.
In an interview with the Daily Beast, the filmmaking duo behind such classic films as The Big Lebowski, No Country for Old Men, and this month’s Hail, Caesar! said that the backlash against the Academy of Motion Picture Arts and Sciences over the lack of diversity among this year’s Oscar nominees, along with boycott pledges from stars such as Will Smith and Spike Lee, ascribes more importance to the awards show than it actually deserves.
“By making such a big deal, you’re assuming that these things really matter,” Joel Coen told the outlet, referring to the Oscars. “I don’t think they even matter much from an economic point of view. So yes, it’s true — and it’s also true that it’s escalating the whole subject to a level it doesn’t actually deserve.”
When hinted at that the Coen brothers may not have fulfilled their own diversity quota in their new film, they doubled-down on the ridicule:
According to the Beast, the Coen brothers face scrutiny of their own over their forthcoming film Hail, Caesar!, a comedic crime caper set in the Golden Age of Hollywood starring George Clooney, Scarlett Johansson, Channing Tatum, Jonah Hill, and Josh Brolin.
After viewing the film, Washington Post reporter Ann Hornaday wrote that its “pervasive whiteness is of a piece with the filmmakers’ well-established house style,” but that with all the talk over the issue of diversity in Hollywood, the film is “now beginning to look creakily anarchic.”
When asked by the Daily Beast why there aren’t more minority characters in the film, Joel Coen shot back: “Why would there be?”
“I don’t understand the question,” Coen said. “No — I understand that you’re asking the question, I don’t understand where the question comes from.”
“Not why people want more diversity — why they would single out a particular movie and say, ‘Why aren’t there black or Chinese or Martians in this movie? What’s going on?’ That’s the question I don’t understand,” he continued. “The person who asks that question has to come in the room and explain it to me.”
See, never back down when logic is on your side. Just mock these people. Why would anyone have non-White characters in a movie set in a time and place that was all White?
The sad part is that most cucked out White directors in Hollywood would have trembled in fear if it was them being accused of not be politically correct enough. “I – I – I’m not racist bu – bu – but…”
It’s enough to make you want to puke.
Coen added that people who single out specific movies and ask why there aren’t more minorities in them have a “fundamental misunderstanding of how stories are written.”
“You don’t sit down and write a story and say, ‘I’m going to write a story that involves four black people, three Jews and a dog,’ — right? That’s not how stories get written,” Coen said. “If you don’t understand that, you don’t understand anything about how stories get written and you don’t realize that the question you’re asking is idiotic.”
Ha.
The Coen Brothers seem like alright guys, at least as far as Jewish Hollywood directors go. And they seem to, for the most part, just be interested in making good movies rather than pushing an anti-White agenda all of the time. At least from what I’ve seen. And when they show Jewish characters, they are often portrayed in a refreshingly realistic way.
A Serious Man, for example, is a Coen brothers movie that everybody should watch if they find the time. It gives you many fascinating insights into the Jewish psyche. Dissident Jew Gilad Atzmon has called it a Jewish whistleblower film.
And then there’s this Jewish Hollywood producer in Barton Fink:
Also well worth a watch is No Country for Old Men. Note that the racially ambiguous arch-bad guy and the violence in that movie is a metaphor for the rising violence that is sweeping over and overwhelming America (this symbolism is much more clear in the book, though it is also apparent in the film, namely in the sheriff’s dialogue).
Also note that much of this violence emanates from Mexico.
