Nic Pizzolatto Quotes

And then I met Jerry and he's such a creative fiction writer, and I don't know if there's ever been a team put together the way we are - where one person does the theological way out and suggestions, and the other person goes into the cave and does the fiction writing.

I've never worried about how a new release will be received. I simply try to do the best I can and leave the rest to the gods. The music industry in those terms is something I loathe and detest. It conjures up images of a gigantic factory spewing out parts of the machine.

From a writing point of view, you now have teams of screenwriters working with a director. What's lost in the process is the power of that one heart, brain, gut and soul that makes something an original piece of writing.

I've never really felt comfortable co-writing. I usually go at my own speed, you know.

I imagine the proverb about too many cooks spoiling the broth can be applied to writing as well as anything else. The poetical or literary broth is better cooked by one person.

I can sit in the room with the other writers and just keep saying no until there's something I really like or until I come up with something. In that respect the proportion of what's mine and what's other people's is controlled by me. It isn't even fair to talk about.

I like writing for other people. I love it. It's great because you write it and then you hand it off to someone else. But in terms of directing, anything I direct will be something I've written or re-written. I'm in no crazy rush to direct.

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it.

There's something exciting and incredibly liberating for an artist to finish something Friday night and the world hears it Friday night instead of eight months later after marketing people and all those assholes get involved.

A craftsman knows in advance what the finished result will be, while the artist knows only what it will be when he has finished it.

I'm one dude that writes his adlibs. I don't just go in there and say "Gimme a track." I say what I'ma say here [then] I put effects on my voice. Why not? I wrote it. Why not show the talent? Why be scared? That's why I hate certain fans who hate cause it's not like raw hip-hop, like boom bap.

There's not like a science to it, necessarily, but I'm also the kind of person who spends a long time in the studio. I will spend my entire advance just getting it done, which is probably stupid, but I don't have extravagant taste. I mean, I paid for it, so there you go. Why not? The recording process is also very fun.

I've never written anything that wasn't somewhat of a collaboration. I don't know how people do it on their own.

Animation, by necessity, is a team sport, and the fewer people with input into my work, the better I like it.

I think now that I've tried directing, I'm not interested in doing adaptations anymore. I could do an adaptation of someone else's work that I would write, but the idea of taking someone else's material entirely doesn't interest me. One of the things that I found really helpful, at least in my mind - and I've never discussed this with the actors or with the people I work with - is that being a neophyte in directing, I feel like I have a kind of authority simply because I'm the writer as well.

If I'm collaborating with an artist I like to give them my point of view and if they don't want to take any of my recommendations it's fine, but it's hard otherwise.

The worst thing you can do to anybody trying to be creative is to demand participation in their vision.

Being in the studio, it's more of a controlled environment, where you can be Salvador Dali and sit back and look at the painting. And you can go, 'Ah, you know what? Maybe a little bit more red over here...maybe add some blue over here.' You can sit back and look at the painting.

In art, there is one thing which does not receive sufficient attention. The element which is left to the human will is not nearly so large as people think.

I don't listen to nothing while I'm in the studio, because I don't want to be influenced by anybody else.

I really love the experience of moving things around, in terms of being a director.

The images [of The Kite Runner grafic] were created in Fabio Celoni's mind. I chose to let him take the lead. Fabio and I did exchange an e-mail or two, but it was my intention to step out of the way and let his artistic instincts take over.

The director is simply the audience. His job is to preside over accidents.

I prefer writing for myself to perform, I guess. But if I had to choose, I'd rather perform in someone's movie than write a movie for someone else.

I really love being in postproduction. First of all, it's all quite self-interested: You can protect things.