I don't see this mentioned by any other Times Reader, but that doesn't mean that no one has previously posed the following question: WHY don't the Solversons OR Hank ever mention Molly by name, not even when interacting with her directly, or on the fringes? It seems as it's being studiously avoided. Was this done deliberately to distance the devotees of the original series? It's an interesting device if it was intentional up to now...
Each scene-location in Fargo is rich in texture making the series particularly enjoyable - reminiscent of the texture-rich scenes of Vienna in "The Third Man." What was your inspiration for such rich scene-locations.
delighted to see the talented mr ripley/ er wilson appear in this fine show.
have enjoyed his bway efforts so much. and movies....(the dramas)
still good lookin too!
have enjoyed his bway efforts so much. and movies....(the dramas)
still good lookin too!
Mr. Hawley, I have a question about whether you would consider doing a season of Fargo about the oil boom in North Dakota. It seems that it's changed the landscape there so much in terms of the population, the economy, public safety, all of it, and seems like it would be ripe territory for you.
Congratulations Mr. Hawley, you bring the cinematic arts even with the art of the novel. Most screenwriters are not novelists. Could you comment on how your literary work has shaped your screenwriting work and vice versa? Thanks again for your all your works.
Hi Mr. H, The opening of Ep 2 was one of the greatest TV highlights for me this year. Bobbie Gentry's Reunion and the awesome editing was such a wicked combination. I would like to ask about your approach to music and sound design for Fargo. The tension in the butcher shop in Ep 2 was also out of the world!! Seeing that it was written and directed by yourself, how do you craft that tension? Thank you from the bottom of my heart for the best show ever!!
Hi Noah--Thanks so much for the wonderful work this season! I'm living for Monday night.
My question: How explicitly have you charted the elements that make up the Coen Brothers' aesthetic/philosophical/cinematic universe? Do you jot down lists of things that come to you when watching or thinking about their films? (Maybe things like, I don't know, "character makes dramatic exit, then has to sheepishly backtrack--Blood Simple"; "frost on windshields"; "shaggy-dog rabbinical tales").
My question: How explicitly have you charted the elements that make up the Coen Brothers' aesthetic/philosophical/cinematic universe? Do you jot down lists of things that come to you when watching or thinking about their films? (Maybe things like, I don't know, "character makes dramatic exit, then has to sheepishly backtrack--Blood Simple"; "frost on windshields"; "shaggy-dog rabbinical tales").
You are the only credited writer on all episodes. This is disappointing since I was hoping to abandon my totally acceptable life and become a writer on your show. Do you foresee a time when you'd be lazy enough to want additional writers? Are there other people already secretly working on the writing process with you? If you prefer to discuss in person, I can meet you in my grandmother's retirement home in Mankato, which has a spacious lobby.
Mr. Hawley, you've proved your genius at casting and writing. (Everyone knows Jean Smart from Designing Women, but I'll wager you also know her magnificent work in 24.)
Is it too much to ask that you find a way to allow Patrick Wilson to sing? Along with Steven Pasquale, he's the finest American singing actor. Make it happen!!! (Ooh, and how about Pasquale for your third season?)
Is it too much to ask that you find a way to allow Patrick Wilson to sing? Along with Steven Pasquale, he's the finest American singing actor. Make it happen!!! (Ooh, and how about Pasquale for your third season?)
Sorry to disregard your request for questions, but I just have to comment that I think Noah Hawley is doing an invaluable service to the world of entertainment. This Fargo, shocking as it is, even surpasses last season's. It is the best thing on television and I could not pass up the opportunity to thank Mr. Hawley for it.
The previous season also centered around ordinary (but kooky) people thrown into an odd and sudden tragedy and the aftermath. Do you feel like this might be a case of deja vu or will we see significant differences in plot this season.
Hi Mr. Hawley, Don't take this the wrong way but this season I'm missing the instant evil of Lorne Malvo. Malvo killed for the game, for the hunt. So far this season, it seems like everyone's "bad" behavior is due to being victims of circumstance. What happened in the Waffle Hut, the car accident, the understanding husband, their actions are due to the unintentional reactions to the accidental violence. I know this is "Fargo" but in your world, do practically all people do the wrong thing? Is this your way of saying "anyone is capable of violence when they think that's the only way out"? If so, I better get a meat grinder.
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Love the show. In both seasons, I recall references to casserole. As a nearly lifelong North Dakota and Minnesota resident, I find this to be a major plot gap. Why no love for hotdish?
Why does Patrick Willson always suffer so much on his roles? Please, have mercy.
Would you talk about exposition? My husband and I are fascinated with the way you deftly hide it in your writing.
Mr. Hawley, how far do you think the series reaches reality?
Mr Hawley,
The original Fargo is one my favorite movies, but the first season of Fargo had me thinking that it was better than the film was. I was wondering what your creative process was for both seasons? Did you approach the TV show with delicacy or did you try and do something new?
The original Fargo is one my favorite movies, but the first season of Fargo had me thinking that it was better than the film was. I was wondering what your creative process was for both seasons? Did you approach the TV show with delicacy or did you try and do something new?
Hello mr. Hawley, has your ADN been tested? Are you sure you're not one of the Coen brothers? Just kidding, my real question is: ever since season 1 your cast choices were somehow unlikely (Martin Freeman doing a Minnesotan accent, an unknown Allison Tolman being brilliant) and yet, they worked perfectly. How do you do it? What do you look for or what gives you that feeling of "yes, he/she is the one"? I must say season 2 cast is perfect (again!)
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Was the UFO an homage to The Man Who Wasn't There? Also, I'm seeing a bit of a motif with the lens flares and the ultra smooth (POV?) shot of the yellow car in episode two. Does it have a larger meaning?
I was just wondering what it was like in the early stages of the show. How did get the rights to make the show? What was development and pre-production like?
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Including the inspired casting of Ted Danson, you've had Bob Odenkirk, Jordan Peele, Keegan-Michael Key, Brad Garrett, Martin Freeman, Kate Walsh, Stephen Root, Oliver Platt and Bruce Campbell play roles in both seasons of Fargo. Do you consciously go looking for actors with comedic backgrounds for particular parts, given the inherent dark humor in both the show and the film? Or did that all just happen naturally and unintentionally? Thanks.
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If the film takes place in 1987, and the first season takes place in 2006, and the season after that takes place in 1979. And everything prior to that and Vietnam war is relatively quiet, than is possible to make one more season that fits somewhere where it doesn’t coincides with the Solverson or Gunderson stories?
Perhaps the early 90s, I think there enough social commentary for that decade as there is for the 70s decade. The violence, paranoia, misunderstanding brought on by globalization, NAFTA and talk of New World Order, the rise of far-right militias’ and the responding law enforcement raids that turn into debacle make for another addition for the anthology
Perhaps the early 90s, I think there enough social commentary for that decade as there is for the 70s decade. The violence, paranoia, misunderstanding brought on by globalization, NAFTA and talk of New World Order, the rise of far-right militias’ and the responding law enforcement raids that turn into debacle make for another addition for the anthology
If the film takes place in 1987, and the first season takes place in 2006, and the season after that takes place in 1979. And every year prior to that and the Vietnam war is relatively quiet and peaceful, than is it possible to make one more season that fits somewhere where it doesn’t coincides with the Solverson or Gunderson stories?
Perhaps the early 90s, I think there enough social commentary for that decade as there is for the 70s decade. The violence, paranoia, misunderstanding brought on by globalization, NAFTA and talk of New World Order, and the rise of far-right militias’, and the responding law enforcement raids that turn into debacle would make for another great addition for the anthology
Perhaps the early 90s, I think there enough social commentary for that decade as there is for the 70s decade. The violence, paranoia, misunderstanding brought on by globalization, NAFTA and talk of New World Order, and the rise of far-right militias’, and the responding law enforcement raids that turn into debacle would make for another great addition for the anthology
Mr. Hawley,
This season of Fargo may be better than the last one, which is no easy feat. When you were pitching it, did you run into any pushback from a network or even the Coens themselves at the idea for making this series? In addition, what drew you to want to make a version of Fargo for television?
Do you plan out the arcs ahead of time, or is it written more naturally?
Last question: Out of the Coen's large filmography, which film is your favorite of theirs? My personal top two are The Big Lebowski and No Country For Old Men.
This season of Fargo may be better than the last one, which is no easy feat. When you were pitching it, did you run into any pushback from a network or even the Coens themselves at the idea for making this series? In addition, what drew you to want to make a version of Fargo for television?
Do you plan out the arcs ahead of time, or is it written more naturally?
Last question: Out of the Coen's large filmography, which film is your favorite of theirs? My personal top two are The Big Lebowski and No Country For Old Men.
Hi Mr Hawley, thank you for creating such a brilliant show. Massively enjoyed season one (to the point I'd probably call it my favourite TV show of all time) and I'm so glad season two is shaping up to be just as good.
I'm curious about Lorne's backstory and whether I read the subtext right, but I'm hesitating to ask detailed questions because I feel like a lot of his appeal as a character is what's left unsaid. So instead I have vague/generic questions, which I hope you haven't answered too many times before!
1) Besides the Coen brothers' canon, were there any other works of fiction, authors, etc that influenced Lorne's character?
2) Who would win in a fight between Anton Chigurh and Lorne Malvo? Or which circumstances would give one or the other the upper hand?
I'm curious about Lorne's backstory and whether I read the subtext right, but I'm hesitating to ask detailed questions because I feel like a lot of his appeal as a character is what's left unsaid. So instead I have vague/generic questions, which I hope you haven't answered too many times before!
1) Besides the Coen brothers' canon, were there any other works of fiction, authors, etc that influenced Lorne's character?
2) Who would win in a fight between Anton Chigurh and Lorne Malvo? Or which circumstances would give one or the other the upper hand?
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what an awesome season so far. Loved season 1. When you write characters how do you make them witty and terrifically awesome? Like do you go inside their heads while you write? Also, what's up with the aliens this season? can't wait to see what happens with that. Loved the 70's look and feel. Do you already have plans for a story for season 3?
Hello Mr.Hawley, I'm an aspiring writer who wishes to know some pointers about screenwriting, my biggest problem is character, and a coherent story, doesn't matter how much i study or practice, it always comes to me as a enigmatic puzzle. Did you ever have these problems, and if you did, what did you do to finally solve it?
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How long has this idea been on your mind to make this show did you pitch it to any other networks before fx and also did the coen jump on your idea right away.
Dear Mr. Hawley,
I have seen the two new episodes of the new series and I would like to know where the idea of introducing the alien-related innuendos comes from. Also, if I'm entitle to a second question, I would like to know what other influences have played a significant role in the development of the scripts, aside from the Fargo film and the previous season.
I have seen the two new episodes of the new series and I would like to know where the idea of introducing the alien-related innuendos comes from. Also, if I'm entitle to a second question, I would like to know what other influences have played a significant role in the development of the scripts, aside from the Fargo film and the previous season.
Mr. Hawley- I just want to start off by saying thank you for creating this television masterpiece, and proving that it is possible for a second season to be just as good as the first. Do you see Fargo renewing for a third season? If so, do you have anything in mind, theme-wise? Also, what is your inspiration when writing a script?
Mr. Hawley,
Can you ever see taking Fargo to the 50's or before? You've already worked in mafia themes in both seasons, would you ever see doing a Fargo set in the 1920's? The mafia dynamic would work really well in that context.
Can you ever see taking Fargo to the 50's or before? You've already worked in mafia themes in both seasons, would you ever see doing a Fargo set in the 1920's? The mafia dynamic would work really well in that context.
When are we going to understand the alien stuff in the show, or even see aliens? BTW WHAT A LOVELY SEASON
Do you already have an idea of the setting for season three (assuming it gets picked up again)? Will it follow in the tradition of season two being sort of a "flashback" of season one by being connected by a small reference? Is there an overall arc for the series, or is it planned as just a series of vignettes with small connections between them?
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What role (if any) do the Coen Bros. have in the development of the show?
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Shows that create their own style are rare and FARGO is one of the best. When you work with the actors, how do you describe the "style" of acting you want from them -- they all seem so at home in this departure from what we usually see as television acting.
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Who chooses the music and how does the music, often quirky, drive a storyline?
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One of the things I love about this show is that it actually goes far beyond simply being a riff on the film Fargo; it actually strikes me as more of a general celebration of the Coen Brothers' "expanded universe," so to speak. Coen Bros. fan fiction. The first season drew some obvious parallels to the movie (some being direct connections, such as the briefcase of cash; some being more symbolic like Molly's dressing more and more like Marge Gunderson), but other aspects of it reminded me of No Country for Old Men, a Serious Man and even Burn After Reading (in the daffy, fitness club aspirations of Don Chumpf). There was same sort of wry, Judaic, Old Testament sensibility and tone in the show that defines the Coens' films.
This season too seems no different: The NYT's recap for episode two called out thematic references to Blood Simple; your closing credits music in episode one called back to O Brother Where Art Thou; I definitely spotted a Mike Zoss Pharmacy across from Ed's butcher shop, etc. I'm sure future future episodes will hold more references.
So my question is twofold: Aside from Fargo, which Coen Brothers film do you think is your biggest influence (or at least, which is your favorite?), and what aspects of the Coens' oeuvre most appeal to your own sensibilities as a writer and director? Is it the dry humor and bemusement? Their distinct approach to crime? Attention to character? I think we'd all be interested in hearing your perspectives here.
Many thanks.
This season too seems no different: The NYT's recap for episode two called out thematic references to Blood Simple; your closing credits music in episode one called back to O Brother Where Art Thou; I definitely spotted a Mike Zoss Pharmacy across from Ed's butcher shop, etc. I'm sure future future episodes will hold more references.
So my question is twofold: Aside from Fargo, which Coen Brothers film do you think is your biggest influence (or at least, which is your favorite?), and what aspects of the Coens' oeuvre most appeal to your own sensibilities as a writer and director? Is it the dry humor and bemusement? Their distinct approach to crime? Attention to character? I think we'd all be interested in hearing your perspectives here.
Many thanks.
Hi Mr Hawley and thank you for delivering yet again what promises to be another fantastic season. Pleasantly surprised to see in the credits that you directed the last episode yourself. What drove you to try your hand at directing as well as writing at the same time (just like the Coens)?
1. Both season 2 and season 1 had sinister outside presences that invaded Fargo in the form of Lorne Malvo and now the Kansas City gang. Do you mean them as symbolic or are they simply what they appear to be, outsiders who come in and escalate events? Obviously there was already evil going on before the outsiders got there but certainly Lorne's presence had an amplifying effect and I'm expecting the same from KC.
2. Is there a difference in evil done in a haphazard (Rye's murders at the waffle hut) or partially-well-intentioned way (Ed's finishing off and disposal of Rye to protect Peggy) vs. something more cold and deliberate (that scene where Lester sends Linda to her death in his puffy coat)?
3. Will we get Floyd's family/origin story at some point? If not, can you share some of it?
2. Is there a difference in evil done in a haphazard (Rye's murders at the waffle hut) or partially-well-intentioned way (Ed's finishing off and disposal of Rye to protect Peggy) vs. something more cold and deliberate (that scene where Lester sends Linda to her death in his puffy coat)?
3. Will we get Floyd's family/origin story at some point? If not, can you share some of it?
Love the show. Season 1 was easily my favorite thing on TV in 2014. The cinematography and the mid-West setting are beautiful, but the way the story manages to sprawl while remaining interesting and not getting bogged down in itself is what really blows my mind. What are some of your inspirations, regarding the plots you've written for the show?
Mr. Hawley,
In the past you've referred to season 1 as "No Country for old Fargo," which felt like a perfect characterization of the season's themes and tone. S2--even after only two episodes--feels somehow different from Fargo, Fargo S1, and NCFOM (and in a fantastic way). Were you looking to another film in the Coen's work as a touchstone for this season? (Shades of Barton Fink, perhaps?) Or are there other, non-Coen works that have specifically informed this season? Or are we heading deeper into your own, distinct territory? (I've been calling it "Hawley-wood," a term you can use royalty-free!)
Thanks, looking forward to the rest of the season!
n
In the past you've referred to season 1 as "No Country for old Fargo," which felt like a perfect characterization of the season's themes and tone. S2--even after only two episodes--feels somehow different from Fargo, Fargo S1, and NCFOM (and in a fantastic way). Were you looking to another film in the Coen's work as a touchstone for this season? (Shades of Barton Fink, perhaps?) Or are there other, non-Coen works that have specifically informed this season? Or are we heading deeper into your own, distinct territory? (I've been calling it "Hawley-wood," a term you can use royalty-free!)
Thanks, looking forward to the rest of the season!
n
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"Hawley -wood"
That is wonderful. I have no doubt it will catch on. It sure will with me.
No real Questions Mr. Hawley. I see your picture in the article. You look very Happy. You should be. Your success & Accolades are Well Deserved. I look forward to seeing your work for many years to come.
Just one thought though. More of a Why, than a What with the UFO sighting. I have a feeling we aren't going to get too much more on it. Seems to me its more of the Fargo coincidences that lead to the (Good, or Bad ) fate of the folks in the story. Rye in this case.
That is wonderful. I have no doubt it will catch on. It sure will with me.
No real Questions Mr. Hawley. I see your picture in the article. You look very Happy. You should be. Your success & Accolades are Well Deserved. I look forward to seeing your work for many years to come.
Just one thought though. More of a Why, than a What with the UFO sighting. I have a feeling we aren't going to get too much more on it. Seems to me its more of the Fargo coincidences that lead to the (Good, or Bad ) fate of the folks in the story. Rye in this case.
What other film universes would you enjoy writing stories in?
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As much as I love where season two is going, season one was truly something else and is seriously the best thing I've ever seen on television. My question are what are we going to see in season three? Are we ever going to see an extended storyline the sane way we are for Molly and Lou's family from anyone from that season (i.e. maybe a mix of a prequel and sequel centering around the hitmen, Mr. Wrench and Mr. Numbers, that could fill in the blanks of who they are, how they came to be part of the Fargo gang, their relationship, etc and possibly answer the question of what happened to Wrench after Lorne handed him the key)
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Will we ever get a season about Wrench and Numbers' beginnings? Because I and many other fans of this show would really like to dive deeper into their story.
Do the Coens (Bless their hearts!) have more to do with the show than add their names as well as inspiration?
You've taken what I thought sounded like a bad idea and used it to create a series which I feel supercedes the incredible film that inspired it. Thank you for delivering some of the most brilliant television I have ever seen. We're you at all worried originally, taking on a universe so masterfully created by the Coens, that your show wouldn't stand well next to it? Also, now that you know that it does, how long do you envision it lasting? Season 2 already seems to be running strong with the rest; so I imagine more seasons could be picked up in the future if you have them in mind.
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Yes, I agree. When I first heard Fargo was going to be a TV show I thought "Please don't do that". Boy, was I wrong.
Do you think aliens are experiencing their own Golden Age of Television?
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I agree with Jason L. - absolutely brilliant television. Great writing, wonderful acting and beautifully shot. My question is - and this applies to both seasons: Are all ten episodes completely written before shooting for the first episode is shot?
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