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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.

Jonathan Tropper

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Jonathan Tropper
Age: 54
Born: 1970
Born: February 19
Executive Producer
Novelist
Screenwriter
Writer
Riverdale
New York City
Make
People
Decide
Wait
Happen
Waiting
Next
Happens
Come

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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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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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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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I've never been shot, but this probably what it feels like, that second of nothingness right before the pain catches up to the bullet.
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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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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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I’m living in separate universes, and I have no idea where I actually belong.
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Even under the best of circumstances, there's just something so damn tragic about growing up.
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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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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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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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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.
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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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We're all clichés, all following scripts that have been written and played out long before we landed the role.
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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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The future just isn't what it used to be
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Don't you think if I was able to make some changes, I would have already?
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Fate already warned us to pack it in. We just didn’t hear it in time.
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I'm really not a fan of voiceovers I think they become a crutch.
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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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