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. — © Marcia Clark
You never know what's going to happen when somebody endeavors to do a true crime story. It can be horribly misleading.
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.
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.
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.
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.
'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.
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.
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.'
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.
If you don't get offended by somebody scoring on you then I don't know what to tell you. That is like somebody breaking into your house and just taking your video game out of your hand and you just let it happen. I know if you do that to me, it ain't going to happen. I love my Xbox.
There's nowhere I won't go. As long as it's horribly, horribly true and/or wrong.
When I left Africa in 1966 it seemed to me to be a place that was developing, going in a particular direction, and I don't think that is the case now. And it's a place where people still kid themselves - you know, in a few years this will happen or that will happen. Well, it's not going to happen. It's never going to happen.
I never know, when I start writing a story, what's going to happen, or how it will all get sorted out.
You never know what's going to happen, not just after two months, but tomorrow, you never know what's going to happen.
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