Sebastian by the Italian Early Renaissance master Andrea Mantegna. Sebastian means that the judge has arrows through every part of him – from his calves to his neck – and that his eyes are rolling up in his head, just like in the paintings of St.
Unmounted now, the horse takes off, grazing the strung-up cowboy’s horse as it gallops past to take the stirrup-tangled body of the judge on a prairie sleigh ride.
#Ballad of buster scruggs full
In the screenplay the descriptive passages are often as entertaining and metaphoric as the dialogue, and requires the cinematographer to read more into the scene than just the action: “The black-clad judge is St-Sebastianed full of arrows and tumbles off his horse, his fall snapping arrowshafts. The book not only had to look the part, but also had to move well as it was manipulated. The Coens then worked with Chris at FX WRX to shoot each carefully choreographed vignette. The camera was guided by veteran Techno Dolly operator Anthony Jacques.” (Christoper Webb, The Ballad of Buster Scruggs: Main Title & Chapter Cinematography, Vimeo) The Ballad of Buster Scruggs, Screenplay by Joel & Ethan Coen (Paperback publisher: Faber & Faber Decem128 pp.) Textual and visual descriptions Master bookmaker and prop artist Dave King hand-crafted the period storybook to the Coens’ exacting specifications. This was fitted with a RED 6K camera and a classic 40mm Arri Macro lens. The team chose to work with the Techno Dolly motion control camera crane because of its intuitive workflow and graceful motion. This included evaluating traditional and motion control camera movement systems, as well as lighting and lens options. Chris and the team at his studio, FX WRX, did practical tests with a variety of setups to offer the Coens production methods that fit their specific creative style. Their long time collaborator for main titles, Randy Balsmeyer of Big Film Design, invited cinematographer and technical director Christopher Webb to help find the best approach. Bruno Delbonnel’s cinematography, rapturously embraces the stunning locations found in Colorado, Nebraska and New Mexico, while Jess Gonchor’s production design and Mary Zophres’ costume creations are lovingly detailed to the nail and stitch.“For “The Ballad of Buster Scruggs”, Joel & Ethan Coen chose to create the opening and narrative transitions with cinematic vignettes, featuring a real storybook. Carter Burwell’s wonderfully resourceful score is abetted by no end of Western tunes that have been neatly worked into the flow of events. Redeeming the erratic material is the constant pleasure provided by the splendid team of Coen collaborators. The badinage is awash with 19th century esoterica that feels more researched than authentic or amusing, although there is partial redemption in the pleasure the actors - which include Brendan Gleeson, as “The Irishman,” and Tyne Daly - clearly take in chewing over the dialogue and spitting it out.
Five bores in a stagecoach disgorge dialogue that is far from the Coens’ best, causing claustrophobia to close in at once. What remains, in “The Mortal Remains,” unfortunately proves rather less effective. Crucial to its success is a rich and true performance by Grainger Hines as the wagon master. Not at all bad either is the next yarn, the wonderfully titled story “The Gal Who Got Rattled.” It’s a wagon train yarn, set, like the others, in the early 1850s, that begins in half-straight, half-smart-alecky mode but gradually becomes a mournfully tragic tale that evinces a real and sincere love of the West.
Most assuredly, trouble follows, but the Coens find a twisty way to make the whole thing come together in what finally stands, at the film’s end, as the one real jewel in the anthology. Waits’ old geezer becomes so affable that one shares his joy in his eventual gold strike. The man feels blessed to have this gorgeous place all to himself, and his ongoing self-directed monologues prove mightily engaging. The anthology finally strikes its own particular mother lode with “All Gold Canyon,” a genuinely eccentric, beguiling and physically gorgeous account of a nutty old prospector (Tom Waits, in a welcome return to a fine role for him) who discovers an untouched mountain valley with a river that runs through it and has more to offer that just beauty.
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