There's something more to the interviews, I think. I get the feeling that the two cops are trying to understand the characters of Rust and Marty. Their mission might not be only to get material for the current crime investigation, but also to find out about the blurriest parts of what happened in 1995, and everything around it. They're particularly interested in Rust - his past, and what made him turn into the drunkard he is now. They ask themselves, several times, about Rust's relationship with his father. Marty's relationships don't seem irrelevant to them, either. It's a global thing.

Gotta say, the most disappointing thing about the show at this point is the case itself. It started out intriguing, but the stuff with the biker gang in the most recent episode felt so recycled.

Also, one screenwriter, one director.

I wasn't entirely on board with the flashback nature of the story at first, but now I see that they are using it to very good effect, revealing character, complicating people's perceptions, drawing out implications... it's clearly well thought out as well as well written.

It feels tight and interconnected, but not in the somewhat artificial way that Christopher Nolan's stuff can sometimes take on. I'd like to see the theatricality ramp up a bit--so far there's no real villain, just henchmen and suggestion. I hope it doesn't stray into supernatural territory, but if the writer and director choose to go there, I have some faith that they'll do it well.

I'd be seriously disappointed if the show took a supernatural turn.

I would love to see them making a supernatural bent to the story work.

There was some other time (maybe same interview?) where Pizzolatto addressed that, stating he loves genre, and isn't trying to subvert the genre or trick and abuse the audience. It's obfuscated just enough that you can enjoy it either as a juicy noir, or notice all of the hints and accoutrement.

Like how the flat circle speech cuts to Hart's family at a skating rink, just rolling around in circles.

Or how walking out of the woods, Cohle's carrying a dead child with him, while Hart carries an abused one. And since Cohle's daughter is dead, isn't crazy to think that leans on the mounting evidence that Audrey has also been a victim.