Editing The Hudsucker Proxy (section)

===Writing===
The [[Coen brothers]] first met [[Sam Raimi]] when Joel Coen worked as an assistant editor on Raimi's ''[[The Evil Dead]]'' (1981). Together, they began writing the script for ''The Hudsucker Proxy'' in 1981,<ref>Muir, p. 77</ref> and continued during the filming of ''[[Crimewave]]'' (1985),<ref>Warren, pp. 101–102</ref> and [[post-production]] on ''[[Blood Simple]]'' (1984), during which Joel and Ethan Coen shared a house with Raimi. The Coens and Raimi were inspired by the films of [[Preston Sturges]], such as ''[[Christmas in July (film)|Christmas in July]]'' (1940) and the Hollywood satire ''[[Sullivan's Travels]]'' (1941).<ref name=manner/> The sentimental tone and decency of ordinary men as heroes was influenced by films of [[Frank Capra]], like ''[[Mr. Deeds Goes to Town]]'' (1936), ''[[Meet John Doe]]'' (1941), and ''[[It's a Wonderful Life]]'' (1946).<ref>{{cite book|language=it| first= Alessandro |last=Agostinelli |author-link=Alessandro Agostinelli | title = Un mondo perfetto. I comandamenti dei fratelli Coen| publisher=Controluce | page=111 }}</ref> The dialogue is an [[Homage (arts)|homage]] to [[Howard Hawks]]' ''[[His Girl Friday]]'' (1940), while [[Jennifer Jason Leigh]]'s performance as fast-talking reporter Amy Archer is reminiscent of [[Rosalind Russell]] and [[Katharine Hepburn]], in both the physical and vocal mannerisms.<ref name="manner">Levin, pp. 103–118</ref> Other movies that observers found references to include ''[[Executive Suite]]'' (1954) and ''[[Sweet Smell of Success]]'' (1957).<ref name=Fonda/> The brothers had no intention of commenting on or parodying such movies. Instead, as Ethan said, "It's the case where, having seen those movies, we say 'They're really fun - let's do one'; as opposed to 'They're really fun- let's comment upon them.'" Raimi describes the script as "big-business comedy. It's a return to the very large love story comedies they used to make in the forties and early fifties."<ref name=":1" /> So the brothers started to pace around their apartment, taking turns on the typewriter, and when they found themselves stuck at a point, Raimi would do all sorts of tricks to get the boys back up. For example, while Ethan is pacing around, he would move things around the apartment so Ethan would be thrown off, he even said he threw firecrackers at them.<ref name=":1" />

One film critic described the numerous influences: "From his infelicitous name to his physical clumsiness, Norville Barnes is a Preston Sturges hero trapped in a Frank Capra story, and never should that twain meet, especially not in a world that seems to have been created by [[Fritz Lang]] – the mechanistic monstrousness of the mailroom contrasted with the [[Bauhaus]] gigantism of the corporate offices perfectly matches the boss-labour split in ''[[Metropolis (1927 film)|Metropolis]]'' (1927)."<ref name=Gilliam/> An interviewer proposed that the characters represent [[capitalism]] versus [[labour economics]]. Joel Coen replied: "Maybe the characters do embody those grand themes you mentioned, but that question is independent of whether or not we're interested in them – and we're not."<ref name=Capital/> ''The Hudsucker Proxy'' presents various [[Motif (narrative)|narrative motif]]s pertaining to the [[Rota Fortunae]] and [[motif (visual arts)|visual motif]]s concerning the shape of circles. This includes Moses' monologue at the beginning, the Hudsucker Clock, Mussburger's wristwatch, the inventions of both the hula hoop and frisbee, as well as Norville and Amy's conversation about [[Karma]].<ref name=Fonda/>

The first image the Coens and Raimi conceived was of Norville Barnes about to jump from the window of a skyscraper and then they had to figure out how he got there and how to save him.<ref name="Bergan">Bergan, pp. 148–162</ref> The inclusion of the [[hula hoop]] came as a result of a [[plot device]]. Joel remembers, "We had to come up with something that Norville was going to invent that on the face of it was ridiculous. Something that would seem, by any sort of rational measure, to be doomed to failure, but something that on the other hand the audience already knew was going to be a phenomenal success."<ref name=Gilliam/> Ethan said, "The whole circle motif was built into the design of the movie, and that just made it seem more appropriate."<ref name=Gilliam/> Joel: "What grew out of that was the design element which drives the movie. The tension between vertical lines and circles; you have these tall buildings, then these circles everywhere which are echoed in the plot...in the structure of the movie itself. It starts with the end and circles back to the beginning, with a big flashback."<ref name=Gilliam/> It took the Coens and Raimi three months to write the screenplay. As early as 1985, the Coens were quoted as saying that an upcoming project "takes place in the late Fifties in a skyscraper and is about [[Big Business]]. The characters talk fast and wear sharp clothes."<ref name="Gilliam">Woods, pp. 125–135</ref>

Despite having finished the script in 1985, Joel explained, "We couldn't make ''Hudsucker'' back then because we weren't that popular yet. Plus, the script was too expensive and we had just completed ''[[Blood Simple]]'', which was an [[independent film]]."<ref name="Silver">Woods, pp. 9–10, 122–124</ref> After completing ''[[Barton Fink]]'' (1991), the Coens were looking forward to doing a more mainstream film.<ref>{{cite magazine | author = Juliann Garey | url = https://ew.com/article/1993/02/05/coen-brothers/ | title = Coen to Extremes | magazine = [[Entertainment Weekly]] | date = 1993-02-05 | access-date = 2008-11-22}}</ref> ''The Hudsucker Proxy'' was revived and the Coens and Raimi performed a brief rewrite. Producer [[Joel Silver]], a fan of the Coens' previous films, acquired the script for his [[production company]], [[Silver Pictures]], and [[pitch (filmmaking)|pitch]]ed the project at [[Warner Bros.]] Pictures. Silver also allowed the Coens complete [[artistic control]].<ref name=Bergan/>