Best 87 quotes of Jonathan Tropper on MyQuotes

And even if you didn't fall in love in the eighties, in your mind it will feel like the eighties, all innocent and airbrushed, with bright colors and shoulder pads and Pat Benetar or the Cure on the soundtrack.

As far as rapprochements go, it's awkward and vague, but the advantage of being as emotionally inarticulate as we are is that it will do the trick.

At some point, being angry is just another bad habit, like smoking, and you keep poisoning yourself without thinking about it.

But the muse won’t always cooperate and she will never be coerced. Sometimes she’d rather take a nap or see a mid-afternoon movie.

Childhood feels so permanent, like it's the entire world, and then one day it's over and you're shoveling wet dirt onto your father's coffin, stunned at the impermanence of everything.

Even under the best of circumstances, there's just something so damn tragic about growing up.

Get comfortable with being alone. It will empower you.

I blame Hollywood for skewing perspectives. Life is just a big romantic comedy to them, and if you meet cute, happily ever-after is a forgone conclusion.

If only all our conflicts could be resolved with a few grunts and a smack in the ass.

I may not be old but I’m too old to have this much nothing

I'm generally somebody who hopes for the best. It's not what one ought to do in my line of work [screenwriting], but it is what I do.

I’m living in separate universes, and I have no idea where I actually belong.

I'm really not a fan of voiceovers; I think they become a crutch.

It's hard to imagine her ever having felt lost, but it's impossible to know the people your parents were before they were your parents.

It's sort of an organic process when you're adapting any book, not even just your own. You want to preserve the heart of the story and you want to preserve who the characters are, but film requires a lot of compression.

It's true. somewhere inside us we are all the ages we have ever been. We're the 3 year old who got bit by the dog. We're the 6 year old our mother lost track of at the mall. We're the 10 year old who get tickled till we wet our pants. We're the 13 year old shy kid with zits. We're the 16 year old no one asked to the prom, and so on. We walk around in the bodies of adults until someone presses the right button and summons up one of those kids.

I wake up like this, this sense that I've somehow been transported to an alternate universe where my life took a left instead of a right beacuse of some seeemingly insignificant yet cosmically crucial choice I've made, about a girl or a kiss or a date or a job or which Starbucks I went into...something.

I want to explain everything to him, show him that it’s really not as screwed up as it all sounds, but then I remember that it is.

I whispered to Dad during Rosh Hashanah services, "Do you believe in God?" "Not really," he said. "No." "Then why do we come here?" He sucked thoughfully on his Tums tablet and put his arm around me, draping me under his musty woolen prayer shawl, and then shrugged. "I've been wrong before," he said. And that pretty much summed up what theology there was to find in the Foxman home.

I would have done the same thing I did. I would have put all my energy into loving someone that wasn't you. I would have tried in vain, every day, to not think about you, and what could have been. What should have been. I would have tried to convince myself that there's no such thing as true love, except for the love you yourself make work, even though I know better....The bottom line is I never had any business marrying anyone who wasn't you.

Life, for the most part, inevitably becomes routine, the random confluence of timing and fortune that configures its components all but forgotten. But every so often, I catch a glimpse of my life out of the corner of my eye, and am rendered breathless by it.

Loneliness doesn’t exist on any single plane of consciousness. It’s generally a low throb, barely audible, like the hum of a Mercedes engine in park, but every so often the demands of the highway call for a burst of acceleration, and the hum becomes a thunderous, elemental roar, and once again you’re reminded of what this baby’s carrying under the hood.

Loneliness is the theme, and I play it like a symphony, in endless variations.

Love made us partners in narcissism, and we talked ceaselessly about how close we were, how perfect our connection was, like we were the first people in history to ever get it exactly right.

Novel writing, to me, is all about language: choosing your words, finding the characters within the words and just really agonizing over every word. It's really crafting this whole piece from nothing.

Obviously it's easier when I' m doing the adapting myself. But my feeling is, your potential upside far outweighs the downside. Ultimately, they [moviemakers] can't change your book. Your book remains on the shelf the way you wrote it. If they make a great movie of your book, then you have the equivalent of millions and millions of dollars of advertising for your book. If the movie's not that good, that doesn't mean the book's not good. It doesn't change what you've already written. It has the potential to reach more people.

Phillip is a repository of random snatches of film dialogue and song lyrics. To make room for all of it in his brain, he apparently cleared out all the areas where things like reason and common sense are stored.

Phillip is the Paul McCartney of our family: better-looking than the rest of us, always facing a different direction in pictures, and occasionally rumored to be dead.

Rowdy, hopped-up college kids pass us in an endless, noisy blur like they're being mass produced or squeezed out of a tube - guys skulking in their T-shirts and cargo shorts, girls in low-slung jeans and flip-flops, pimples and breasts and tattoos and lipstick and legs and bra straps, and cigarettes; a colorful, sexy melange. I feel old and tired and I just want to be them again, want to be young and stupid, filled with angst and attitude and unbridled lust. Can I have a do-over, please? I swear to God I'll make a real go of it this time.

Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.

She was smart and funny and vulnerable and just so goddamned beautiful, the kind of beautiful that was worth being shot down over.

Sometimes it’s heartbreaking to see your siblings as the people they’ve become. Maybe that’s why we all stay away from each other as a matter of course.

Sometimes you walk past a pretty girl on the street there's something beyond beauty in her face, something warm and smart and inviting, and in the three seconds you have to look at her, you actually fall in love, and in those moments, you can actually know the taste of her kiss, the feel of her skin against yours, the sound of her laugh, how she'll look at you and make you whole. And then she's gone, and in the five seconds afterwards, you mourn her loss with more sadness than you'll ever admit to.

That's the thing about life; everything feels so permanent, but you can disappear in an instant.

...the first thing you do at the end is reflect on the beginning. Maybe it's some form of reverse closure, or just the basic human impulse toward sentimentality, or masochism, but as you stand there shell-shocked in the charred ruins of your life, your mind will invariably go back to the time when it all started. And even if you didn't fall in love in the eighties, in your mind it will fee like the eighties, all innocent and airbrushed, with bright colors and shoulder pads and Pat Benatar or The Cure on the soundtrack.

The future just isn't what it used to be

There are no happy endings, just happy days, happy moments. The only real ending is death, and trust me, no one dies happy. And the price of not dying is that things change all the time, and the only thing you can count on is that there's not a thing you can do about it.

There are some people out there who don't wait for what come next. They decide what should come next and they go and make it happen.

The thing about living alone is that it gives you a lot of time to think. You don't necessarily reach any conclusions, because wisdom is largely a function of intelligence and self-awareness, not time on your hands. But you do become very good at thinking yourself into endless loops of desperation in half the time it would take a normal person.

The whole purpose of screenwriting is to convey everything through action and dialogue and not explanation and exposition. To me, there are movies where voiceover works really well because it does something more than exposition; it actually becomes a tonal element of the movie.

Things have been a mess for so many years that trying to pin down a starting point is like trying to figure out where your skin starts.

↑ top up position down The fact that I suspect I'm an asshole means I probably am not, because a real asshole doesn't think he's an asshole, does he? Therefore, by realizing that I'm an asshole, I am in fact negating that very realization, am I not? Descartes's Asshole Axiom: I think I am; therefor I'm not one.

We all start out so damn sure, thinking we've got the world on a string. If we ever stopped to think about the infinite number of ways we could be undone, we'd never leave our bedrooms.

We are all smiling in the picture, three brothers having a grand old time just playing around in the living room, no agendas, no buried resentments or permanent scars. Even under the best of circumstances, there's just something so damn tragic about growing up.

We are injured and angry, scared and sad. Some families, like some couples, become toxic to each other after prolonged exposure.

We don't stop loving people just because we hate them, but we don't stop hating them either.

We're all clichés, all following scripts that have been written and played out long before we landed the role.

What it must feel like, I thought, to look at something, anything really, and know that it’s for the last time?

When I'm writing novels, even screenplays, it's never an actor I have in mind; it's always the version in my head of who the character is. Once somebody gets cast, I have to adjust a little bit to who they are.

You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.