Here, we’ve compiled a list of the best Noah Hawley Quotes. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Noah Hawley Quotes before, but that’s because they truly are great.
The most dangerous thing, when you have a serious mental illness, is convincing yourself that you don’t have it. And you see it all the time. People get on medication, and they feel better, and they stop taking it. And some flirt with unreality on some levels. But it feels so convincing to them that it feels real.
When I sold my first book, ‘A Conspiracy of Tall Men,’ it was part of a two-book deal. It wasn’t hugely lucrative, but it was enough money for me to quit the paralegal job I had in San Francisco.
There’s a degree to which music bypasses our rational brain and accesses our emotional core in a way that’s really visceral and allows you to make a strong impression on people without necessary delivering information.
‘Fargo’ is a tragedy with a happy ending. So you need to have that tragic underpinning, that all of this could be avoidable, and that’s what makes it tragic. It’s about the use of violence, and the fact that the tension in anticipation of violence and the tension in anticipation of a laugh are sort of the same.
We’re used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there’s really only one note that you get, and that’s clarity. And people will sacrifice everything for clarity. They’ll sacrifice the joke. They’ll sacrifice the moment, or the romance.
I think people used to read ‘War and Peace,’ and now they don’t; now they sit around with their tablets and watch ‘Downton Abbey‘ and ‘Breaking Bad‘ or whatever, and they want the things that they watch to be better so that they can feel better about themselves for watching it.
One of the things I’ve always loved about genre, comic books, science fiction and fantasy is that there’s a certain level of playfulness to them, and pure imagination and creativity.
When you’re a writer on a show, your job is to write in the show runner‘s voice, really.
The thing with making your art your business is: It’s a business. You can’t sit around waiting for the muse, especially when you run a show, and you’re in production, and an outline is due, a script is due, and a reshoot is due. No. You look at the calendar, and you go, ‘OK. I can write from 4 to 6.’ So you write.
The great thing about an anthology is that each year is its own 10-hour movie, and the only requirement is that it’s the best 10-hour movie that I can make out of the story.
America is a huge country, filled with great tracts of open land. If you’re not careful, you can get lost in it – lost emotionally, mentally, spiritually.
My feeling is there’s a lot of straight drama on television. My goal in life is to try to create something unexpected, and genre is the tool in doing that.
There’s a sense you get from the Coens’ work, like ‘No Country for Old Men,’ where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.
Everyone always says that conflict is drama, and I agree, but I also don’t think you need drama everywhere. Or conflict everywhere.
The thing that scares us the most is when familiar things operate in unfamiliar ways.
‘Legion’ is meant to be a show that is a state of mind. But the problem with TV is that there are commercials. There’s a hypnotic quality to the way we put it together. I need to get you out of your life in the first seven minutes of that show.
I’m a big believer that the structure of stories should reflect the content of the story.