STEVE BUSCEMI: I love all the visual stuff in the dream sequence.
I like the fact that it comes out of left field.
JOHN GOODMAN: Valkyrie, Busby Berkeley, bowling,
if you want to have dreams, those are the ones to have.
You're in the realm with the Dude, man.
ETHAN COEN: There are two dream sequences in the movie.
It's an excuse to do something different visually,
and make a little splash tonally.
This one has... We call them Kafka breaks.
ETHAN: And actually when we're writing a script, usually if we haven't gotten
a Kafka break by page 70, we start one there just arbitrarily.
I remember the big dance sequence. That was fun
because there were so many people there.
JOEL: That was kind of conceived as a Busby Berkeley number,
(CHUCKLING) with Kenny Rogers music.
I guess the thing that's most reminiscent of, in terms of the wardrobe,
is Carmen Miranda with the banana hat, but in this case it's bowling pins.
We wanted to do a dance number,
you know, a big kind of old Busby Berkeley styled number
around the bowling alley, with sort of icons of bowling.
MOORE: It was hard for me to even move in that outfit,
'cause it was kind of made out of layers of leather and Styrofoam.
It was very, very stiff.
So it was difficult to maneuver. I guess I had to move around inside it.
Even doing the stuff with the bowling ball was challenging.
JOEL: Because the dream follows the Dude's encounter with a pornographer,
it seemed appropriate that it be a somewhat sexual dream as well.
So Julianne Moore had to wear the Norse goddess thing.
With the big breastplates.
ETHAN: The hat with the horns, pigtails. Trident. JOEL: Yeah.
This was, you have to understand... Full Brunhilde.
...we're trying to figure out what the Dude would find erotic.
MOORE: The choreographer was really rough, very specific.
And I was pregnant, so I was uncomfortable, really uncomfortable
and kind of nauseous.
And I looked at Joel and Ethan, and they were like, "Don't worry about it."
And that's what was funny, they were like, "It's fine."
She wanted more mobility in my body, and I'm like, "I can't move in my outfit."
JEFF BRIDGES: I loved dancing, so it was a ball.
Here, generally, I don't like to
have visitors on the set when I'm working, 'cause I'm concentrated,
and I feel like I've got to be a host,
but I do like to have my family come to work and see what I'm doing, too.
So I decided, "Well, this is like a pretty good day
"for my young daughters and my wife to come.
"It's a dance number, it'll be kind of fun."
And then as I'm getting ready for the scene,
I say, "Oh, my God. I just realized what I have to shoot today.
"I am going to be sailing under all of these women's legs,
"looking up at their crotches, and I've invited my wife and my daughters.
"What an interesting thing to do. Why did I do that?"
So to lighten the moment up, I decided I'm going to take some photographs of this.
So I have this funny kind of camera that I use,
so I go up to the head Bowling Pin Chorine, as we called them,
Ii said, "This is a good photo op, do you mind if I take your picture?"
She said, "Oh, by all means, Dude."
So I get on to my little skate board to be pulled under their legs,
got my camera and I say, "Okay, and look up."
And I look up at this lady's vagina, I guess you could say,
and there's just a jungle of pubic hair coming out of her outfit.
I mean, it's just a mass, and before I can register that,
I'm pulled, and the next one has even a bigger jungle,
and they're all jungled out as I'm flying.
Just tufts of hair. What they did, thank God my wife knew about it, you know,
they went to the makeup man and they had all this crepe hair
(CHUCKLING) shoved into their tights for the Dude's benefit.
So they pulled one on the old Dude, but that was fun, I enjoyed that.