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"One of the reasons for going back into the past is that it's almost the only place that there's any drama."
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"Oh, this is the most TRAGICAL thing that ever happened to me!"
"In fact-Dr. Sheppard!"
"You let me handle Marius," I said. "Now, you didn't come without you dagger.""No, I did not," he said, lifting his cloak to reveal it, "And with your permission I would like to plunge it through my heart now so I will most assuredly stone-cold dead before the Master of this house arrives home to find you runnning rampant in his garden!""Permission denied."
"I feel sorry and for the both characters the drama for the girl, which was unknown was one very big, for the father who knows what has happened to him... I try to explore him little deeper, but so far to go in the darker without a light...!?"
"We participate in tragedy. At comedy we only look."
"Enough,' said Mercedes, 'enough Edmond! Believe me that she who alone recognized you has been the only one to comprehend you. And had she crossed your path, and you had crushed her like a frail glass, still, Edmond, still she must have admired you! Like the gulf between me and the past, there is an abyss between you, Edmond, and the rest of mankind; and I tell you freely, that the comparison I drew between you and other men will be one of my greatest tortures. No! there is nothing in the world to resemble you in worth and goodness!"
"Exaggerating Your Gestures"Have you ever walked through a door and been jumped on by an over-enthusiastic dog with big paws who practically knocked you down? Some people have that effect. Being too flamboyant and over-boisterous can be overkill and push people away. Drama queens and kings have mastered these exaggerations, much to the chagrin of their observers. Remaining intentional in your gestures is a mark of poise, elegance, and maturity."
"But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it."
Explore more quotes by Robert Towne
"I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible."
"It made me alive to the fact that the most important thing sometimes is what isn't said - to prepare for moments of revelation that can be read entirely on actors' faces without dialogue."
"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."
"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."
"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."
"I'm excited and encouraged to see people getting involved with their public lands and forests. We really need the public's help to repair these heavily used recreation sites."
"Now they're attracted to one another, but repelled by their ethnic origins, so that there was something to overcome. They had to overcome their own prejudices, which had been imposed by the culture - their own shame at being Mexican and Italian."
"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."
"But time has caught up with it and I think vindicated it. Shampoo, too: very dark, very ambitious movie."
"You're torn between wanting to fill in all the spaces and knowing that's really going to screw up the screenplay. And yet, how are you going to communicate it to people who really don't understand the process?"
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