Still, the studio’s faith in Milch never wavered. It just wanted him to focus on more potentially lucrative projects, and persuaded him to create a new series, “John from Cincinnati,” set in a California surfing community, a collaboration with Kem Nunn, a novelist whose books can be found in the surf-noir section. It lasted only one season, a consequence generally attributed to a plot-coherence deficit. In the years that followed, Milch remained fiercely industrious. He created “Luck,” set at the Santa Anita Park racetrack and starring Dustin Hoffman, which was shut down in its second season after multiple horses died during filming. Milch also made a pilot—the only episode shot—for an HBO series called “The Money.” (Milch described it to me as “King Lear meets Rupert Murdoch and family.”) Two other HBO projects never progressed beyond the pilot-script stage: adaptations of Peter Matthiessen’s novel “Shadow Country” and “Island of Vice,” a history of Theodore Roosevelt’s tenure as the police commissioner of New York City. Earlier this year, HBO’s “True Detective” aired a new episode written by Milch and Nic Pizzolatto.
What I love more than anything in this world are masters of the craft who still go out and fuck up all the time. Like they could just sit around on their Greatest Hits and chill knowing they’ve created something eternal, but they’re like, “Hey, why don’t I go make this person-shaped hole in the wall, this sounds interesting.”
Do as much stuff as you can for as long as you can. God damn what a life.