Best 22 quotes of Robert Towne on MyQuotes

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

Black pride. Gay pride. White, Anglo-Saxon Protestant pride. All of these things, you know, they're polarized, aren't they? The red and blue states. Christians, that's the most insidious aspect of it, giving into this great Christian image of America. That's the most frightening thing of all. Whereas in the past they're trying to find things that unite us, to minimize the differences. Whereas today there's this belief in empowerment and entitlement by maximizing differences. I'm not so sure that that's healthy.

But time has caught up with it and I think vindicated it. Shampoo, too: very dark, very ambitious movie.

But, uh, censorship at that time said that you just absolutely couldn't do anything involving children and so we had to go from there. I don't remember what I changed it to. Duvall is just excellent in it.

Either you bring the water to L.A. or you bring L.A. to the water.

Finally, Colin Farrell showed up on my doorstep, only he wasn't Colin Farrell - he was just this Irish kid who had read the script and wanted to do it.

How much are you worth? I have no idea. How much do you want? Naw.I just want to know what you're worth. Over ten million? Oh, my, yes. Why are you doing it? How much better can you eat? What can you buy that you can't already afford? The future, Mr. Gittes! The future!

If you can find meaning in the type of running you need todo to stay on this team, chances are you can find meaning in another absurd pastime: Life.

If you have a good ear for dialogue, you just can't help thinking about the way people talk. You're drawn to it. And the obsessive interest in it forces you to develop it. You almost can't help yourself.

I'm not in business to be loved, but I am in business.

I'm not supposed to be the one that's caught with his pants down.

In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.

I think Los Angeles certainly grew out and grew up, but I don't think it matured. It lost the appeal and the hunger and the beauty of its adolescence and went straight to a middle-aged ugly, overfed monster seeking mindless pleasure and being obsessively acquisitive. It's so materialistic. It grew up, but it didn't mature.

It was not possible to film in California, because all the areas are heavily built up now. Coming to Cape Town is an invitation to step into the past and recreate Los Angeles of the 1930s.

People who can't think of anything else but whether the person you love is indented or convex should be doomed not to think of anything else but that, and so miss the other ninety-five percent of life.

Politicians, ugly buildings, and whores all get respectable if they last long enough.

Relative to the power that movie stars have, and producers and directors, I would say that even the most respected screenwriters have very little power in Hollywood. I don't think it's in the nature of the writer's profession to go after that power. Writers spend their time alone, hallucinating, writing, making these things up, while these other people are out schmoozing, making connections, meeting each other. They are trotting the corridors of power and making sure they've put their own imprints in it. And they're promoting themselves and their images, as they should.

The one thing you know when you're shooting a script - and I've been on a lot of sets - is space is in a script, and the distance between the page and the stage is so enormous that it is unbelievable how even the brightest people can misread your intent or not see it altogether. Scripts have air in them. Scripts are supposed to leave things up to interpretation, but people can misread things enormously, so sometimes it's just a matter of wanting to put on the screen what you had in mind.

The straight roads are the roads of progress, the crooked roads are thee roads of genius.

What makes screenplays difficult are the things that require the most discipline and care and are just not seen by most people. I'm talking about movement - screenwriting is related to math and music, and if you zig here, you know you have to zag there. It's like the descriptions for a piece of music - you go fast or slow or with feeling. It's the same.

You're dumber than you think I think you are.

You must be dumber than you think I think you are.