Quotes About Noah Hawley

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 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.

The anthology format is completely normal to me. That's just how TV works in my experience.

'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.

Let me be clear. 'The Good Father' isn't a handbook on how to assassinate the president.

The first conversations I had for 'Legion' were right as the first year of 'Fargo' was ending. 'Daredevil' hadn't even begun then, so when signing on, I had no real sense of the onslaught that was coming.

I would have loved to have been in the room with the ABC executives when they watched David Lynch's 'Mulholland Drive' TV pilot. You know that had to be a long silence after that thing stopped.

'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.

'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.

I want to do good stories, and I want to work with really interesting people. And if it's Noah Hawley forever, that's also amazing.

I think Noah Hawley's writing is hilarious, and I love a good dark joke.

The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.

I sat down to take a break from writing a book and wrote a spec feature that would end up being the movie 'Lies & Alibis' with Steve Coogan.

For some reason, I tend to take on the stuff that people are really passionate about. If you make a list of people you don't want to offend, it's Vonnegut readers, comic book fans, and Coen brothers enthusiasts.

One of the things I love about Joel and Ethan Coen's movies is that there is this element of the ethereal and the mythic that they play with.

I'm a big believer that the structure of stories should reflect the content of the story.

One of the things that I've always appreciated about the 'X-Men' style of storytelling versus other Marvel stories is how fluid the line between good and bad and right and wrong is.

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.

And irony without humor is violence.