A Quote by Terry Pratchett

A police procedural novel can be even funnier if the police include Trolls and Dwarves and things like that. You start looking at the whole basis of the cop novel. You get the cop moving in a different way when you've actually set it in a fantasy city.
Joseph Wambaugh did not invent the police novel, but no one had seen anything like 'The New Centurions' when it was published in 1971. Here was a working, living, breathing cop with a decade of experience on the beat.
In Crash, you've got a pathological cop who at the end justifies police brutality. He tells the naïve, young cop that you're going to end up the same as him. He's the most sympathetic character in the movie. So, the naïve cop ends up murdering this Black kid and tries to cover up the evidence. It sort of justifies police brutality and the planting of evidence which is what happened in the O.J. Simpson case.
The fact is that my mother is a cop and generally kids of cops are a little different from their parents - they tend to be quiet. In my case, I was never interested in joining the police force, because right from my childhood I have seen the challenges in a cop's life.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Police thrillers are so widely read and police dramas so commonplace on television that many people think they have a good understanding of what a cop's world is like. But in truth that world is seldom revealed with anything approaching verisimilitude. We get it with The Wagon.
Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.
I would like to fire every cop in America and start from scratch. We don't need as many of them, and the whole model of policing is completely off the rails. For the most part, the police are engaged in very little protection of the public. That's probably 5 percent of what they do. The rest of it is writing tickets.
With a face like this, there aren't a lot of lawyers or priest roles coming my way. I've gotta face that was meant for a mug shot and that's what I've been doing for the past thirty years. If I play a cop, it's always a racist cop, or a trigger-happy cop or a crooked cop - but by and large I play cowboys, bikers, and convicts.
The nice thing about your police procedural as opposed to your classic murder mystery is that in a murder mystery you don't know who did it. Whereas in a police procedural you know, you know everything often and you're watching the police home in.
My parents did the whole good-cop/bad-cop thing - Dad was the bad cop, and Mom was the good cop. I remember my father saying, 'I'm his father, not his friend.' That kind of stuck with me.
If I play a cop, it's always a racist cop or a trigger-happy cop or a crooked cop - but by and large I play cowboys, bikers, and convicts.
If I see a cop, it's not like, 'Oh, there's a cop who's gonna keep me safe.' It's more, 'There's a cop who might be having a bad day, so don't make eye contact.'
A recent police study found that you're much more likely to get shot by a fat cop if you run.
The only thing that's different about doing a superhero show is that you can have your hero do things that a normal cop in a procedural can't do. But the structure of the storytelling is universal.
My parenting style could be described as not good cop or bad cop so much as nervous cop. I'm always yelling for somebody to stop because they're about to get hurt. I'm the take a jacket, slow down guy.
It's very important to play a police role convincingly. It ups you in your career. Even 'Siruthai,' in which I played a cop in one of the roles, was a gamechanger.
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