Quotes by: Nic Pizzolatto
I grew up in a working-class Catholic family in south Louisiana. I went to a state university. I taught literature, wrote a novel that was the novel I wanted to write, and got a couple of good reviews but no real traction. I had no idea how to get a job in TV.
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.
I grew up in Louisiana and spent my formative years there. There's a contradictory nature to the place and a sort of sinister quality underneath it all.
Art was always for me an escape and a way to relate to the world around me.
The idea of being a show runner was very attractive to me, to create and control something.
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.
I was raised by television. It was my first cultural window. It was a constant companion.
I read 'The Conspiracy Against the Human Race' and found it incredibly powerful writing. For me as a reader, it was less impactful as philosophy than as one writer's ultimate confessional: an absolute horror story, where the self is the monster.
It's your job to come up with compelling characters who speak to an individual authenticity. If I'm not interested in the characters, I can't go on. I have to be fascinated by them.
Most television shows are going to require an actor sign up from four to six years, but an anthology show really amounts to five or six months at the most. I thought serious actors might be attracted to that.
When you're a confused 19-year-old filled with questions you can't even articulate and a kind of black rage that feeds at your heart from the moment you wake up in the morning, and you discover Marcus Aurelius' 'The Meditations,' that changes your life.
Whatever story you're telling in Louisiana, the landscape is going to become a character in it.
I didn't come to Hollywood to be subservient to anyone else's vision.
If I write scripts that nobody likes, I don't think we'll be doing 'True Detective.'
I was raised in a heavily Catholic family. Early and consistent encounters with mysticism.
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.
If there was one overarching theme to 'True Detective,' I would say it was that, 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.
'The Atlantic' really gave me my writing career - even just the conviction to be a writer.
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.
'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.
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.
If landscape is a character for me, then it helps if I'm familiar with it and I already have a take on it.
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.