I was fortunate that I was at newspapers for eight years, where I wrote at least five or six stories every week. You get used to interviewing lots of different people about a lot of different things. And they aren't things you know about until you do the story.
Chuck Klosterman

It's just that what's important there is different there than what's important is here. Here, people care that you wrote a book or that you work in the media.
Chuck Klosterman

A lot of people have this strategy where if they have a hard question they wait to ask it to the end of the interview because they think the person is going to walk out. But what they have to realize is, is that if the person walks out, they have a pretty successful story.
Chuck Klosterman

You're trying to find new ideas in people. I always think to myself, what question I am least comfortable asking the person? And then I make sure I ask it early in the interview.
Chuck Klosterman

At a magazine, everything you do is edited by a bunch of people, by committee, and a lot of them are, were, or think of themselves as writers. Part of that is because magazines worry about their voice.
Chuck Klosterman

In Fargo, they say, well, that's a job. How well do you get paid? For example, for this book I was written about in Entertainment Weekly, and it was kind of cool because my mom asked me if Entertainment Weekly was a magazine or a newspaper.
Chuck Klosterman

To me, every interview, even if you love the artist, needs to be somewhat adversarial. Which doesn't mean you need to attack the person, but you do need to look at it like you're trying to get information that has not been written about before.
Chuck Klosterman