IN: The Mothers of Invention were an American rock band from California that served as the backing musicians for Frank Zappa. Formed in 1964, their work is marked by the use of sonic experimentation, innovative album art, and elaborate live shows. Originally an R&B band called the Soul Giants, the band's first lineup included Ray Collins, David Coronado, Ray Hunt, Roy Estrada and Jimmy Carl Black. Zappa was asked to take over as the guitarist following a fight between Collins and Coronado, the band's original saxophonist/leader.

The Soul Giants were formed in 1964. In 1964, Frank Zappa was approached by Ray Collins who asked him to take over as the guitarist following a fight between Collins and the group's original guitarist. Zappa accepted, and convinced the other members that they should play his music to increase the chances of getting a record contract. Original leader David Coronado did not think that the band would be employable if they played original material, and left the band. Zappa soon assumed leadership and the role as co-lead singer, even though he never considered himself a singer. The band was renamed the Mothers, coincidentally on Mother's Day. The group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing Zappa's "Trouble Every Day," a song about the Watts Riots. Wilson had earned acclaim as the producer for singer-songwriter Bob Dylan and the folk-rock act Simon & Garfunkel, and was notable as one of the few African Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve Records division of MGM Records, which had built up a strong reputation in the music industry for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves because "Mother" in slang terminology was short for "motherfucker"--a term that apart from its profanity, in a jazz context connotes a very skilled musical instrumentalist. The label suggested the name "The Mothers Auxiliary", which prompted Zappa to come up with the name "The Mothers of Invention".
QUESTION: Are there any other interesting aspects about this article?
IN: Barton Fink is a 1991 American period film written, produced, directed and edited by the Coen brothers. Set in 1941, it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle. The Coens wrote the screenplay for Barton Fink in three weeks while experiencing difficulty during the writing of Miller's Crossing. They began filming the former soon after Miller's Crossing was finished.

Filming began in June 1990 and took eight weeks (a third less time than required by Miller's Crossing), and the estimated final budget for the film was US$9 million. The Coens worked well with Deakins, and they easily translated their ideas for each scene onto film. "There was only one moment we surprised him," Joel Coen recalled later. An extended scene called for a tracking shot out of the bedroom and into a sink drain "plug hole" in the adjacent bathroom as a symbol of sexual intercourse. "The shot was a lot of fun and we had a great time working out how to do it," Joel said. "After that, every time we asked Roger to do something difficult, he would raise an eyebrow and say, 'Don't be having me track down any plug-holes now.'" Three weeks of filming were spent in the Hotel Earle, a set created by art director Dennis Gassner. The film's climax required a huge spreading fire in the hotel's hallway, which the Coens originally planned to add digitally in post-production. When they decided to use real flames, however, the crew built a large alternate set in an abandoned aircraft hangar at Long Beach. A series of gas jets were installed behind the hallway, and the wallpaper was perforated for easy penetration. As Goodman ran through the hallway, a man on an overhead catwalk opened each jet, giving the impression of a fire racing ahead of Charlie. Each take required a rebuild of the apparatus, and a second hallway (sans fire) stood ready nearby for filming pick-up shots between takes. The final scene was shot near Zuma Beach, as was the image of a wave crashing against a rock. The Coens edited the film themselves, as is their custom. "We prefer a hands-on approach," Joel explained in 1996, "rather than sitting next to someone and telling them what to cut." Because of rules for membership in film production guilds, they are required to use a pseudonym; "Roderick Jaynes" is credited with editing Barton Fink. Only a few filmed scenes were removed from the final cut, including a transition scene to show Barton's movement from New York to Hollywood. (In the film, this is shown enigmatically with a wave crashing against a rock.) Several scenes representing work in Hollywood studios were also filmed, but edited out because they were "too conventional".
QUESTION:
What made it so this film was done so quickly?