"When I was writing Deadwood, my formal voice changed....The reason that happened then I think is that I accepted that the formal voice is God's voice. No matter how you distort it or reverb it, it's still God's voice. Once you accept that, when you're writing, the question becomes, what would be necessary to God, if the narrator has to be true to the narrator's nature and the characters have to be true to their natures? If we were to say that God as a narrator wants to place the characters in a situation most congenial to their discovery of their deepest nature - which is that their sense of themselves as separate is predicated on an upper misapprehension, and they are all one thing - how would you go about telling the story."
"...The idea of being an auteur, I don't believe in that. I don't care whose name is on a script. We are organs of a larger organism which knows us although we do not know it. I regard myself as vessel of whatever that larger organism is, its instrument, rather than as the source of the scenes. So a lot of what I do is try to get out of the way. That's the way I work in my writing. That's the way I work with the actors. That's he way I edit. It put me in the path of an enormous amount of energy."
-David Milch, writer of creator/writer of NYPD Blue and Deadwood, in his recent memoir, Life's Work.
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