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.

The Atlantic really gave me my writing career - even just the conviction to be a writer.

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 writers ultimate confessional: an absolute horror story, where the self is the monster.

Whatever story you're telling in Louisiana, the landscape is going to become a character in it.

At DePauw, I was teaching writing and fiction. The things I wanted to teach, more than anything else, were form and theory of the novel, of narrative. I liked those classes.

You can't really judge an actor's abilities by their career, because the business is going to pigeonhole people into whatever turns a profit, and no artist is less in charge of how their work is presented than an actor, the appeal of Vince was that within a great naturalism, he can convey fierce intelligence, complex emotion, and a real warmth married to a real edge, strength and vulnerability and danger and humor. There are essential contradictions at work that makes him fascinating to watch.

The ideas within this philosophy are certainly not exclusive to any writer.