Dan Gilroy quotes:

Shooting at night in Los Angeles is amazing. The city shuts down at 10 P.M. every night, and a whole different cast of characters comes out.

In Los Angeles, you drive around, and you're coming back from a club or something, and all of a sudden, you'll encounter a coyote. And they're very lean, hungry-looking animals.

I find Los Angeles to be a place of great physical beauty, in which you have the oceans and the mountains, and there's a vertical sense and a desert light that you can see forever.

I watch a lot of television, for better or worse, and I am particularly interested in what Michael Moore brought up in 'Bowling for Columbine,' which is the idea that they're selling a narrative of fear.

I think there is an enormous sea change happening in the global workforce. It has a lot to do with globalization. I think that people used to have a hope for a career or meaningful employment, and its been reduced to internships, part-time work or just grossly underpaid work.

The real reason why people are going with digital is that it's extraordinarily mobile, and it's cheaper, and it has a great image, and you just can't beat it at night. It's pulling in variations of colors; it's pulling in lights from 40 miles away - a candle would be seen.

The friends we have, these are choices that - unlike family, which we have no choice in, and I love my family, thank God - we've given ourselves, to some degree.

To Die For,' with Nicole Kidman, is great - her desire to be a part of news, how she uses news to further her career and how it can drive you insane. I love that movie.

I don't know too many people who, when the TV announcer says, 'Viewer discretion is advised', then turn the TV off. Those are code words for, 'Turn the sound up; this is gonna be really good.'

I'm an enormous Tim Burton fan.

One of the things about the '70s films I love - the films 'Nightcrawler' is being compared to, like, 'Taxi Driver' - is that they never put their flawed characters into any one box.

News has become entertainment. Once that happens, a whole series of horrific events start to happen, whether it's the lack of dissemination of something that can inform you or something that actually negatively impacts society.

I feel that the world is increasingly about the bottom line, and not so much about human respect or human dignity. In that regard, people who care about other people will not be in a position to make choices and do things that other people who they're competing against will get to do.

When an accident or a crime happens, there's a period of time before the yellow tape goes up, before the official response becomes formalized. That allows the nightcrawlers to get very close.

I reached a point where I'd watched enough directors do the job that I felt I understood it. And it's not that I'm a slow learner and it took me this long; I also was enjoying writing, and I still enjoy writing - I get tremendous satisfaction out of the writing end of it.

When I'm directing, I noticed I'm not using my subconscious at all. I'm literally using the whole front part of my brain all the time. When you walk on the set, every moment you have to be there because something's going on that requires attention.

The spirit of L.A. is untamed wilderness. It's earthquakes and wildfires and oceans and mountain lions and fog. There's great physical beauty.

I have a strong desire to communicate what I feel about the world. That's exciting to me.

I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.

I moved to L.A. and watched a lot of local television news, and I started to see the burn logos up on the upper right hand corner - On-Scene Video, RMG Media Group, and all these other ones. I just became intrigued with it.

I had written a script called Freed, which I had wanted to direct.

I spend most of my time in a room alone where eight hours go by, and I have no sense of time. I work seven days a week, and I live in this sort of vague subconscious fog a lot.

We rely on editors of blogs or websites and television stations to supply us these images, and the filter is becoming very thin and very porous. The ratings race for TV and websites is incredibly fierce, and one of the ways of getting people to watch is through graphic violent images.

My screenwriting credits in my career are probably not dissimilar to some other ones in the sense that a lot of the scripts you write don't get made, and the ones that do get made are certainly - as a writer, they're not your vision.

A sociopath is just a label and doesn't encompass the entire being of a person.

A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.

Media is extraordinarily important and is an extraordinarily powerful tool. There's a reason that the first things that a rebellion or revolt will take is the media. The story you transmit is the story that becomes a given, or the narrative of a country and people.

A script like Nightcrawler gives me an opportunity to truly realize a vision thats mine, which is exciting.

A lot of times, L.A. is desaturated, and cement and freeways, and downtown.