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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.

Jonathan Tropper

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Jonathan Tropper
Age: 54
Born: 1970
Born: February 19
Executive Producer
Novelist
Screenwriter
Writer
Riverdale
New York City
Feel
Cure
Feels
Cures
Even
Bright
Airbrushed
Mind
Shoulders
Eighties
Love
Innocent
Pads
Like
Color
Eighty
Fall
Shoulder
Didn
Colors

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Silver is forty-four years old, if you can believe it, out of shape, and depressed—although he doesn’t know if you call it depression when you have good reason to be maybe then you’re simply sad, or lonely, or just painfully aware, on a daily basis, of all the things you can never get back.
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I loved her for the way she embraced the unknown, how she opened herself up to every experience. When I was with her, she opened me up, too, stirred my passion and heightened my every sensation. Which was great, until she left me and all my heightened senses to deal with the heartache of losing her.
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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.
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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.
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At some point, being angry is just another bad habit, like smoking, and you keep poisoning yourself without thinking about it.
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Everyone always wants to know how you can tell when it's true love, and the answer is this: when the pain doesn't fade and the scars don't heal, and it's too damned late.
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You have to look at what you have right in front of you, at what it could be, and stop measuring it against what you've lost. I know this to be wise and true, just as I know that pretty much no one can do it.
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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.
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I’m living in separate universes, and I have no idea where I actually belong.
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You never know when it will be the last time you'll see your father, or kiss your wife, or play with your little brother, but there's always a last time. If you could remember every last time, you'd never stop grieving.
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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.
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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.
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Get comfortable with being alone. It will empower you.
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Don't you think if I was able to make some changes, I would have already?
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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.
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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.
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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.
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