Nic Pizzolatto Quotes


I'd want to bring a flamethrower to faculty meetings. The preciousness of academics and their fragile personalities would not be tolerated in any other business in the known universe.

I liked teaching but the bureaucracy of academia and the petty intrigue... It wasn't a good fit. Once I admitted that myself that I didn't like academia I was ready to try TV.

Art was always for me an escape and a way to relate to the world around me

I left the University of Chicago's creative writing program for a tenure-track job at DePauw University in Indiana then left DePauw in 2010 for Los Angeles.

The idea of being a show runner was very attractive to me to create and control something.

The Atlantic' really gave me my writing career - even just the conviction to be a writer.

Certain experiences you can't survive and afterward you don't fully exist even if you failed to die.

I find the constraints of drama actually freeing: It brings everything down to character and action.

The conspiracies that I've researched and encountered they seem to happen very ad hoc: they become conspiracies when it's necessary to have a conspiracy.

As human beings we are nothing but the stories we live and die by "? so you'd better be careful what stories you tell yourself.

I don't think you can create effectively toward expectation. I'm not in the service business.

I'm not in the service business.

It's better to not have a reputation than a bad one.

Often what allows someone to behave heroically in dire circumstances is unpalatable in day-to-day life.

Killing characters on television has become an easy short cut to cathartic emotion.

I was raised in a heavily Catholic family. Early and consistent encounters with mysticism.

The ideas within this philosophy are certainly not exclusive to any writer

'True Detective' is a densely layered work with resonant details and symbology and rich characterization under the guise of one of the forms of this mystery genre. That's what we shoot for.

Whatever story you're telling in Louisiana the landscape is going to become a character in it.

For me as a storyteller I want to follow the characters and the story through what they organically demand.

At DePauw I was teaching writing and fiction. The things I wanted to teach more than anything else were form and theory of the novel of narrative. I liked those classes.

As someone with a novelistic background I just didn't have much interest in creating stories by committee. I don't think you necessarily get the best story through that approach.

I was raised by television. It was my first cultural window. It was a constant companion.

You just do the best you can and when you're able to connect with people and when you do it's just incredibly gratifying.

There's never been anything I didn't love that I didn't connect with on a personal level because to some degree I projected upon it.

We live in a culture that has a real hard time distinguishing fiction from reality. Even when they're told something is fiction.

For the finale I thought the audience deserved to get a close point of view on the monster and to recognize him the way you recognize the heroes of 'True Detective.'

If I write scripts that nobody likes I don't think we'll be doing 'True Detective.'

I made True Detective like it was going to be the only thing I ever made for television. So put in everything and the kitchen sink. Everything.

In the summer of 2010 I had decided to get into film and TV writing so I wrote scripts for six different ideas I had developed and the pilot for True Detective was one of them.

In the summer of 2010 I was working on a version of True Detective that I was thinking might be my next novel and it was told in these two first-person voices; Cohle and Harts voices.

In the summer of 2010 I was working on a version of 'True Detective' that I was thinking might be my next novel and it was told in these two first-person voices; Cohle and Hart's voices.

For me the worst writing generally just 'flips' things: this person's really a traitor; it was all a dream; etc. Nothing is so ruinous as a forced 'twist ' I think.

TV and film were always governing passions of mine and that first wave of great HBO shows in the early years of the millennium was feeding my desire for fiction more than the books I was reading.

Whatever I watched whatever I loved in 36 years of life on Earth probably had some influence on me.

If landscape is a character for me then it helps if I'm familiar with it and I already have a take on it.

I didn't come to Hollywood to be subservient to anyone else's vision.

You know how people say that young people feel immortal? I don't know what they're talking about. I was planning for how I would deal with my death in good conscience well before I even hit puberty.

The work is where I tend to feel pressure - not so much in the reaction to it.

Some people no matter where they look they see themselves.