For his dance sequence, Jack Kehler went through three three-hour rehearsals. In the first dream sequence, the Dude gets knocked out and you see stars and they all coalesce into the overhead nightscape of L. At each rehearsal, he went through each phase of the piece. The Coens decided to make Fargo in the meantime. Ethan said, "We wanted something that would generate a certain narrative feeling — like a modern Raymond Chandler story, and that's why it had to be set in Los Angeles So there's a very sacrificial quality to it.
That suited the retro side of the movie, slightly anachronistic, which sent us back to a not-so-far-away era, but one that was well and truly gone nevertheless. The visual bridge between these two different looks was how he photographed the night scenes. They told him that they wanted some parts of the film to have a real and contemporary feeling and other parts, like the dream sequences, to have a very stylized look. And at the same time rediscovering the old earthiness of a Mark Twain. According to Joel, he "came up with the idea of just laying free-form neon stars on top of it and doing a similar free-form star thing on the interior". She worked only two weeks on the film, early and late during the production that went from January to April  while Sam Elliott was only on set for two days and did many takes of his final speech. Instead of adopting the usual blue moonlight or blue street lamp look, he used an orange sodium-light effect. That way we've already accumulated pieces for several future movies. In the movie adaptation of Chandler it's the main character that speaks off-screen, but we didn't want to reproduce that though it obviously has echoes. The character of Uli originated on the set of Fargo between Ethan Coen and Stormare, who often spoke in a mock German accent. The Coens decided to make Fargo in the meantime. The second dream sequence is an astral environment with a backdrop of stars", remembers Heinrichs. The challenge for them was figuring out the relative speeds of the forward motion and the rotating motion. This carried over to the film's dream sequences. In the first dream sequence, the Dude gets knocked out and you see stars and they all coalesce into the overhead nightscape of L. However, with the Dude's apartment, Deakins said, "it's kind of seedy and the light's pretty nasty" with a grittier look. Ethan said, "We wanted something that would generate a certain narrative feeling — like a modern Raymond Chandler story, and that's why it had to be set in Los Angeles In casting the film, Joel remarked, "we tend to write both for people we know and have worked with, and some parts without knowing who's going to play the role. This is a normal writing process for them, because they often "encounter a problem at a certain stage, we pass to another project, then we come back to the first script. I lived in a little place like that and did drugs, although I think I was a little more creative than the Dude. So there's a very sacrificial quality to it. CGI was used to create the vantage point of the thumb hole in the bowling ball. For his dance sequence, Jack Kehler went through three three-hour rehearsals. The Coen brothers told Heinrichs that they wanted Treehorn's beach party to be Inca -themed, with a "very Hollywood-looking party in which young, oiled-down, fairly aggressive men walk around with appetizers and drinks. At each rehearsal, he went through each phase of the piece. It'll be something he can really run with," Joel said in an interview.
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