Nic Pizzolatto Quotes

Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.

That's always a cool thing to be the voice of what the eyes are seeing. It gives you the role of the Greek chorus and that's always fun to do.

Like 'Metro' and 'Motor,' 'Troublemaker' is written in first person. The only narration that happens is Barney speaking to the reader/thinking in her head. First person was a big challenge in the graphic novel because we want both men and women of all ages to enjoy 'Troublemaker.'

In film as a medium, you're often given a baddie and a goodie and told what to think about them; it's usually a very definite point of view.

I think if you ask the audience to like you, it's all over.

There are things which need to be shown in the trailer in order to let the audience know what kind of film it is that they're going to be expecting to see.

For a short period of time, I was like, I have these jokes and if people get them, they get them. And then eventually, I was like, Oh no. It's absolutely my job to convey to people why what I think is funny, is funny. The whole point of standup is to get the audience to understand your weird point of view.

It is rare and almost impossible for a novel to have only one narrator.

If you're not connected emotionally to a story, then you're dead. You're as a filmmaker really just opening the door for people to lose interest and their minds to wander, for them to start picking it apart. That's what people will do, people will naturally tear stuff apart because they're trapped with it, they paid money for it. And they came into it wanting to love it. So all you can really do is piss off the audience. Unless you do things right.

For so long I didn't have any kind of readership at all - I'd get published, but not read - the idea of writing for an audience is so anathema to me, it's never bothered me.

Early on, I settled on the first-person strategy as a way to deal with exposition and world-description issues. As long as the book is, it could have been far longer had I gone with an omniscient third-person narrator, or multiple point-of-view characters, since either of those would have enabled me to impart much more detailed information about the history and geography of the world.

I'm not sure that all books aren't that way. I think that might apply to any book I was writing. The book was kind of the product of this enormous infatuation I had, not only with the office and office politics, but with perspective, and trying to tell a story from as wide a range of perspectives as you possibly can. I tried to capture it all with the first-person plural, but once I settled on that, I used it to tell the story from as many angles as I could. I guess, to put it romantically, it was about a love affair with the craft of perspective.

Now, my novel begins. No, now I begin my novel—and yet I cannot decide whether to call myself I or she.

You can't rely on the fact that people know you. At Glastonbury, when they all knew I was DJing, everyone was cheering even though they'd never heard some of the tracks I was playing before.

One of the most difficult things in writing a novel or anything at all is to choose the point of view from which it's going to be told.

I've always written in first person. It gives the readers more insight.

I would so hate to be a first-person character! Always on your guard, always having people read your thoughts!

The cow's point of view deserves more literary attention.

It always seems to someone outside the business that it is very difficult to write for a comedy show because it must be done quickly. Actually, it is much easier to write this humor than to do a joke or a show from scratch, because the audience knows the plot. Just mention what is going on and then deliver the punch line.

In most books, the I, of first person, is omitted; in this it will be retained; that, in respect to egotism, is the main difference.

Everyone is interesting except the narrator in a first-person story.

It is hard to create a first-person narrator that can be a child and yet is able to take in enough information for the narrative to be legible to the reader.

Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing.

It's harder to write in the third person but the advantage is you move around better.