All language subtitles for True Detective S01E00-Making True Detective

MAN: Okay. You're rolling.
Mark and... action.

NIC PIZZOLATTO: "True Detective"
takes the form of a manhunt.

So it's more of a thriller
than any kind of whodunit.

SCOTT STEPHENS:
It's a very unique story

told in a very unique way.

I don't want to live
in history.

I don't want to know
anything anymore.

McCONAUGHEY:
It's not like anything

I've read or done before.

CARY FUKUNAGA:
It's really about two men

and how they have
to face who they are

over the course
of seventeen years.

WOODY HARRELSON: It's like
you're watching a film,

but it is episodic.

MICHELLE MONAGHAN:
It's truly riveting.

As a fan, as an actor,
I want more.

But you put a
ceiling on your life

because you won't change.

MAN: You're only as
the Lord made you.

MARTIN: Solution
right under my nose,

and you're watching
everything else.

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COHLE: January
the 3rd, 1995.

I hadn't been on the job
about three months till then.

♪

MAN: The story begins in 1995,

when Martin Hart
and Rustin Cohle,

who were partners in state CID,
catch the body of Dora Lang,

which Vermilion
Sheriff's Department

has called them in to take.

You ever see
something like this?

No, sir.

During the course of the show,
we kind of try

to figure out who it was
that killed Dora Lang,

and it's a lot more complicated
than expected.

McCONAUGHEY: It's really
a story of what happens

in these two men's lives

when they come together
to solve this murder.

Our introduction to the series
is our two guys in 2012

being interviewed
about this murder.

So you want to talk
the whole case through

or just the end?

GILBOUGH: Whole story
from your end

if you don't mind.

Like he said,
the files got ruined.

Hurricane Rita.

What he didn't say is,
this is about something else.

PIZZOLATTO: The narrative itself
is the 2012 versions

of Hart and Cohle telling
the story of their investigation

of the murder of Dora Lang
and Cohle's later idea

and obsession that there
might be more people involved.

TORY KITTLES: When we start
looking down this road

and start putting together
the pieces of the puzzle,

a lot of the things
that we find,

they aren't adding up.

His record, his reports,

his stories, they don't add up.

MICHAEL POTTS: We come in
to look at this case

to see if we can get
to the bottom

of why it hadn't been
solved correctly

and to see if we can find
the actual serial murderer.

McCONAUGHEY: This case
has been reopened,

and he didn't get the guy,
that's the main thing.

He wants to know what they know

so I can get back on the case
and solve it myself.

You got to let me
see what you got.

GILBOUGH: Well, let's
hear your story first,

see how it fits
with what we got.

Well, your dime, boss.

♪

HARRELSON: When you initially
meet our characters together,

there's quite a lot
of butting heads.

I'm a very sociable,
gregarious person,

and he is just the opposite.

McCONAUGHEY:
Cohle is a real loner.

He's never seeking
a relationship

early on with Martin Hart.

He's not even a guy who wants to
have a conversation in the car.

MAGGIE: Bring him in, Marty.
Let's get a good look at him.

MONAGHAN: While they're
very different on the page,

I really believe they're
both tortured,

and I think that's what draws
them to each other.

I think that's what keeps them
together for seventeen years.

I said, your life

is in this man's hands, right?

Of course you should
meet the family.

FUKUNAGA: The classic
sort of buddy cop film

is always based on conflict.

Without conflict,
you don't have drama.

One of the fundamental things
I like with Matthew and Woody

is that these are
men with children and wives

and they live
with responsibility.

Watching Matthew and Woody
work together,

they certainly bring out
the best in each other.

It's fun to watch them interact
because they have a friendship

outside of this friendship
that they're portraying.

HARRELSON: Matthew is a really
good buddy of mine

for a long time.

So it's great to get to hang out
with him on a daily basis.

Time I think you hit a ceiling,

you just keep raising the bar.

You are like the Michael Jordan

of being a son of a bitch.

♪

PIZZOLATTO:
Writing these actual scripts

was very, very difficult.

It was 550 pages total,
written in about three months.

HARRELSON: I was really gripped
by the writing.

I thought it was
just as good as it gets.

PIZZOLATTO: I wrote the last six
scripts after they had been cast

and rewrote the first two
to more fit into their voices.

You ever been hunting, Marty?

Yeah, ten-point buck
year before last.

I'm not talking about
sitting in a tree house

waiting to ambush a buck
come to sniff your gash bait.

Talking about tracking.

Jesus, you're a prick.

McCONAUGHEY: Every time I read

what came out of Rustin Cohle's
mouth, it turned me on.

Everything had bangs to it.

I keep things separate.

I like the way I can
have just one beer

without needing twenty.

People incapable of guilt

usually do have a good time.

One of the biggest things
you're trying to figure out

when you're direct on your own is,
you know, breaking down characters.

So, you know, to have the writer
on set to talk about character

collectively with the actors
is a huge resource.

That social enterprise
has actually been--

for me personally, as a guy
who has spent a lot of time

alone in a room, typing on
a keyboard-- it's been fantastic.

Okay. Everyone else
should move back

past Video Village.

Let's do our last looks.
Let's get ready to shoot.

FUKUNAGA: When your story
is on a scale

that we're telling this one on,
then the world

that it's set in
becomes another character.

TIM BEECH: A lot of
the buildings and topography--

this swampy, spookiness
of the South--

is the backdrop that the story
already fits in.

FUKUNAGA: It's a really densely
green sort of landscape

mixed with the sort of
industrial detritus

of refineries
and other industries,

and that's all kind of part
of the texture of our story,

and I want to make sure
we got all that.

Landscape is an important part
of the story we're telling,

and he's shot this amazing
footage of South Louisiana

that really nobody
has even seen before.

Nic is from these parts.

He's from Louisiana,
and we're here.

We're shooting it here.

It's really rooted in place,

and I think that that really
makes is feel very well.

It's not New Orleans.

It's not, you know,
Bourbon Street.

We're definitely in the sticks.

You listen on this roll,

you've got frogs and cicadas
in the background.

They're part of our ambiance.
Mother Nature is the queen.

She is the ruler down here.

The first thing you have
to contend with here

is the weather.

When you're at a location
and the weather comes in,

it can be daunting.

The sky turns black,
and literally it can rain

so hard you can't see
twenty feet in front of you...

[Thunder]

which makes it difficult
to not only shoot,

but also to move equipment
and manpower

and get people out of the way
of the weather.

Mainly the mud because we're
dealing with so much rain

and, you know, hauling equipment
in and out of places--

even to get, you know,
300 meters that way

with a bunch of carts that,
like, tear up the ground

that's supposed to look pristine
because it's supposed

to be untouched-- makes it hard.

After you contend with the
weather, you have the critters.

Oh, yeah. Oh, yeah.

STEPHENS: We regularly employ
wranglers that precede the cast

and crew through the bush
and catch anything that might be

dangerous, such as cottonmouths,
other poisonous snakes.

We had several adventures
with wildlife.

We pulled a six-foot alligator
out from where we were building.

Our greensman did that.

Granted, we built the set
in the bayou.

So it was his set
before it was ours,

but a six-foot alligator will
definitely get your attention.

Something I've never done
in my career is,

we had birds of prey on set.

We had an owl and a hawk purely
to keep the mockingbirds at bay

so we could film
because they're very noisy.

To cameras and mark
and the B mark.

KITTLES: We're shooting
on 35-millimeter film.

So I think there's gonna be
a texture to it

that's just gonna bleed
onto the screen.

We have reached the point
where film is probably dead,

but I wanted one last romance
with film

before we're forced to shoot
digital forever.

Every time you change a mag
and stuff, you're like,

"Ah, I asked for this.
I asked to shoot film,"

but I wouldn't have had it
any other way.

I say stay 35.

Let's keep it a little
more claustrophobic.

LePERE-SCHLOOP:
As an art director

and as all of us
in the art department,

we start pretty early on with
the director and the writer,

and we work with them to come up
with the kind

of physical concepts of what
the show is going to look like.

Each set is its own
sort of thing.

So some, we're looking
for a location that exists

and figure out
how to modify that

to tell the story that we need.

LePERE-SCHLOOP: We were trying
to find the perfect location

for a remote, burned church,

and the spillway provided
this amazing empty canvas

where you have a lot
of natural beauty

but it's also surrounded
by refineries.

So we put some roads in,
and we built a church

from the ground up
that actually looked

like it had suffered
from a serious fire.

Place is trashed.

We also built a meth shack.

Again, we started with nothing.

It was a construction site
when we got there,

so just sand on the grounds.

We asked the people
to stop mowing,

and we sprinkled a little seed
and added some ground plants.

In a very short period of time,
there's plants knee height.

It's pretty spectacular.

STEPHENS: Part of
the procedural nature is,

there's a lot of investigations
of old case files.

All those case files have
to show crime scene photos,

dead bodies.

LYNDA REISS: We have created
every single crime scene.

So we've taken people,
and we've made them up

to be dead with various
strangulation,

gunshot wounds, stab wounds.

STEPHENS: Because it's 1995,

we wanted to depict them
as they were.

So they're all taken on film
and processed on film.

There's no digital stills used

until digital technology
becomes part of the story.

All our photos,
all our photo stock,

our papers, everything
that I've had to do,

we've had to try to do it
as period-correct as possible.

Any of these look
familiar to you?

Now, that look like
something my old auntie

taught us how to make
when I was a tyke.

What are they?

Some folks call them
bird traps.

Old auntie told us that
they were devil nets.

♪

DIGERLANDO: The killer
leaves his calling cards,

these sculptures that are
sort of the signifier of a mood

and a feeling of dread.

We kind of started
with these ideas,

passing ideas around
about Cajun bird traps,

and I think that
the serial killer

looked at his victims
as the birds.

In some ways, they're
almost like voodoo pieces

that are very ominous.

WALSH: I just created
what I thought was beautiful,

and then you take it
out of my studio

and put it into a context where
the whole dynamic changes.

So it's been very
interesting that way.

MARTIN: Let's get
these twig things bagged,

same with the crown.

LePERE-SCHLOOP: A lot
of the research we also did

was in the history
of rural Mardi Gras.

We see these crowns
in photographs

from different time periods

as part of these rural
Mardi Gras traditions.

This is the original one
from the original crime scene.

This is what we find Dora with.

I started dangling roots
off the side

so the roots would be
kind of in her hair.

FUKUNAGA:
The stuff was pretty amazing

in terms of what it looked like.

It's just creepy, you know?

I never seen
that kind of stuff before.

Just what is it you think

we've found,
Mr. Cohle?

Something deep
and dark, detectives.

Something deep and dark.

♪

REASER: This story is really
about something darker

and deeper than a serial killer.

It's more of a manhunt
for a creature

out in the tall grass
that you can't see.

MARTIN: We got
a rabid dog out there,

and we got to put him down.

KITTLES: You'll go on this
journey with these characters

and try to put
the pieces together.

COHLE: This is gonna happen
again, or it's happened before.

You will meet
some extraordinary characters.

McCONAUGHEY:
You get to care about them,

but you also get to be surprised
by who they become.

The excitement of it
is really gonna come through.

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