A Quote by Marcia Clark

You never know what's going to happen when somebody endeavors to do a true crime story. It can be horribly misleading. It could be tabloidy. — © Marcia Clark
You never know what's going to happen when somebody endeavors to do a true crime story. It can be horribly misleading. It could be tabloidy.
You never know what's going to happen when somebody endeavors to do a true crime story. It can be horribly misleading.
'Fargo' becomes a metaphor for a type of true crime case where truth is stranger than fiction. So, there's no reason that there isn't another 10-hour true crime story that could be told in this region.
That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'
You can tell a true war story by the questions you ask. Somebody tells a story, let's say, and afterward you ask, 'Is it true?' and if the answer matters, you've got your answer . . . Absolute occurrence is irrelevant. A thing may happen and be a total lie; another thing may not happen and be truer than the truth.
I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.
If your subject is crime, then you know at least that you're going to have a real story. If your subject is the maturing of a college boy, you may never stumble across a story while you're telling that. But if your story is a college boy dead in his dorm room, you know there's a story in there, someplace.
Imaginary testing is unreliable, and in many cases, it's a huge waste of time and energy. In truth you just don't know what will happen until you try. You may start a business, and it could take off in ways no one could predict. Or it could be a complete failure. You could ask for a date and end up with the partner of your dreams. Or you could be rejected cold. It's great to visualize what you want, but you never really know what's going to happen until you act.
I never plan. I never know what the next page is going to be..... But that's the fun of writing a novel or a story, because I don't know what's going to happen next.
I do know that it's true that if you wanted to reduce crime, you could - if that were your sole purpose - you could abort every black baby in this country, and your crime rate would go down.
The hardest part is when you're in danger yourself. You have to face what could happen and might be likely to happen to you. It's not just that you're there standing next to somebody that something bad is likely to happen to. That is a true moment of reckoning with who you really are.
The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.
The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.
I don't plan my books. I don't know what's going to happen. That's why I could pick up any one of my 30 books and I could continue the story on.
None of our films look alike, we are very dialectical in our approach to each one, and 'Hoop Dreams' was no exception. That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.' Out of that comes the story, which was exactly what happened with 'Hoop Dreams.'
I was a late bloomer. I was 38 when my first book was out and 43 when my first crime novel was out. I had a story that could only be told as a crime story. I think the genre is good; it deals with the fundamental questions of life and death. The problem is there are too many bad crime stories.
Occasionally, I have written about stories related to crime, but I have never attempted a traditional detective story. So I want to write a true detective story.
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