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.

If I write scripts that nobody likes, I don't think we'll be doing 'True Detective.'

The work is where I tend to feel pressure - not so much in the reaction to it.

I've found that all weak people share a basic obsession - they fixate on the idea of satisfaction. Anywhere you go men and women are like crows drawn by shiny objects. For some folks, the shiny objects are other people, and you'd be better off developing a drug habit.

I don't think you can create effectively toward expectation. I'm not in the service business.

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.

Most television shows are going to require an actor sign up from four to six years, but an anthology show really amounts to five or six months at the most. I thought serious actors might be attracted to that.