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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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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.
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You can sit up here, feeling above it all while knowing you’re not, coming to the lonely conclusion that the only thing you can ever really know about anyone is that you don’t know anything about them at all.
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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.
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If only all our conflicts could be resolved with a few grunts and a smack in the ass.
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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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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.
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Even under the best of circumstances, there's just something so damn tragic about growing up.
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Don't you think if I was able to make some changes, I would have already?
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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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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.
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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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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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Pity, I've learned, is like a fart. You can tolerate your own, but you simply can't stand anyone else's.
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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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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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Fate already warned us to pack it in. We just didn’t hear it in time.
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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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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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The future just isn't what it used to be
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