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.
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.
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.
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.
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.'
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.
We're all born storytellers. It's part of the species. But, more specifically, I suppose a particular combination of sensitivity and trauma made me a writer: an essential disquiet with reality, which required exploration through portrayal.
It's better to not have a reputation than a bad one.
Whatever story you're telling in Louisiana, the landscape is going to become a character in it.
'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.
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