CBS Films' "Inside Llewyn Davis" opens today, amid very positive reviews. It was written and directed by Joel and Ethan Coen, who produced along with Scott Rudin; the siblings also edited, under the name Roderick Jaynes. In an interview with Variety, the two talked about their invaluable collaborators in re-creating the Greenwich Village folk music scene before Bob Dylan revolutionized it. They took their visual inspiration from a Bob Dylan album cover, and talked about the subtle hazards of recording the songs live and of shooting in New York, even in buildings and rooms appropriate to the era.

Cinematography: Bruno Delbonnel

ETHAN: "Freewheeling Bob Dylan"; it's an iconic Greenwich Village early '60s (image). For the the look of the movie, that's what we talked about with Bruno; that was a touchstone. We wanted desaturated color, desaturated ectachrome look. It's the picture of the Village that we wanted to present, it's also the gray sky, no direct sunlight, the whole wintry thing. I don't know if we suggested it to Bruno or he suggested it to us.

JOEL: I think we both came at it at the same time. As Ethan was saying, it's emblematic of that period.

ETHAN: Bruno is unbelievable.

JOEL: We worked with him on this short we did in Paris (a segment of "Paris, Je t'Aime"). We have a longstanding collaboration with Roger Deakins but he was shooting James Bond and was essentially out of the market. So we called Bruno and luckily he was available.

Editor: Roderick Jaynes

ETHAN: We have worked with other editors a couple of times, like Trisha Cook, my wife.

JOEL: We've worked with other editors but we've never NOT cut ourselves as well.

ETHAN: And they were all good experiences. But once we started cutting digitally on the computer, it became so efficient, we kinda hogged the process (laughs).

JOEL: I doubt that (hiring an outside editor) would ever happen again. When I got out of film school, I started working in editing rooms. So I'm perfectly comfortable on the machines; it's not possible for me to sit over someone's shoulder. That's just part of our process, like writing, doing storyboards, production, editing -- it's just something we have to get our hands on. It's also fun.

ETHAN: There's another reason why we would not. We don't have the same financial imperatives for finishing a movie really fast; big movies cut while they're shooting. We can't cut while we're shooting -- cuz we're shooting!

JOEL: We have never cut while we were shooting, with one exception, "Hudsucker," and that was a mistake. I know some directors do, but we're too lazy. After we finish shooting for a day, we like to go home and sleep.

Sound: Peter Kurland

ETHAN: (about recording songs live). Kurland treated it like recording dialog, we looked for good sound environments, we got it on boom. Obviously T Bone Burnett was involved. We had picture microphones, which also functioned.

JOEL: Yes, practical microphones, which functioned and we used them for pickups.

ETHAN: Mainly we used booms. Technically, it was nicely recorded. We had a set for the Gaslight (Club).

JOEL: We re-created clubs in a sound-friendly environment. We didn't shoot those in actual clubs where sound might be an issue. It was being mixed on the set. Peter has worked with us on every film we've done since 'Blood Simple."

Production design: Jess Gonchor