A Quote by Nic Pizzolatto
In the summer of 2010, I was working on a version of 'True Detective' that I was thinking might be my next novel, and it was told in these two first-person voices; Cohle and Hart's voices.
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In the summer of 2010, I was working on a version of "True Detective" that I was thinking might be my next novel, and it was told in these two first-person voices; Cohle and Hart's voices.
For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
Sometimes when you do voices next to each other, especially when you're first starting out, they tend to bleed into each other. Working on a show like 'Futurama,' we do multiple characters there, but we've been doing it for a while, so the voices are really well-defined in our heads.
And I like a good horror story as much as the next person so long as they kill off some men too and not just girls. But the voices Joan heard were real. There’s clear and substantiated proof they were real. She won battles that would otherwise have been lost because of what those voices told her in advance of them allowing the French generals to strategize in ways completely different than they did before Joan came along. People’s lives were saved because of what those voices told her.
Trying to understand the fear I had of truly opening my heart - first, you have to be whole to do that. The fears, the voices in my mind saying, "Oh, you don't want to do that, you might get hurt, they might abandon you - "those are ghost voices from my mom and dad.
I was four years old then, and I think it must have been the next summer that I first heard the voices.
There's a lot of magic in voices. I love voices that are very old, very gravelly, very deep. I like metallic voices; I like velvety voices. The voices of children.
Women’s voices, LGBT voices, and the voices of people of color are all needed in any art form if we want to explore the true possibilities of that art form. Diversity is strength.
We need feminist voices today, you know. In my time, we had incredible feminist voices and I'm sure we have it today, too, but in all the massive outlets, maybe the one or two or three voices are somehow disappearing.
In a thousand voices singing the Hallelujah Chorus in Handel's "Messiah," it is possible to distinguish the leading voices, but the differences of training and cultivation between them and the voices in the chorus, are lost in the unity of purpose and in the fact that they are all human voices lifted by a high motive.
In this age of censorship, I mourn the loss of books that will never be written, I mourn the voices that will be silenced-writers' voices, teachers' voices, students' voices-and all because of fear.
Writing allows for fictitious voices - the voices of persons unlike myself - that might otherwise be muted.
Particularly in television, we can stereotype ourselves. You realize that we all have a lot of voices in our head. We have angry voices, we have voices of doubt, and we have moments of strength.
My father told me that some voices are so true they can be used as weapons, can maneuver the weather, change time. He said that a voice that powerful can walk away from the singer if it is shamed. After my father left us, I learned that some voices can deceive you. There is a top layer and there is a bottom, and they don't match.
The Basic Eight and Watch Your Mouth both have first-person voices, and I ended up investigating those voices and investing so much in them that I think many people took them more seriously than they ought to have.
In the summer of 2010, I had decided to get into film and TV writing, so I wrote scripts for six different ideas I had developed, and the pilot for True Detective was one of them.
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