In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.

But, uh, censorship at that time said that you just absolutely couldn't do anything involving children and so we had to go from there. I don't remember what I changed it to. Duvall is just excellent in it.

Politicians, ugly buildings, and whores all get respectable if they last long enough.

If you can find meaning in the type of running you need todo to stay on this team, chances are you can find meaning in another absurd pastime: Life.

People who can't think of anything else but whether the person you love is indented or convex should be doomed not to think of anything else but that, and so miss the other ninety-five percent of life.

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.

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.

Good dialogue illuminates what people are not saying

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.

You're dumber than you think I think you are.

I'm not in business to be loved, but I am in business.

How much are you worth? I have no idea. How much do you want? Naw.I just want to know what you're worth. Over ten million? Oh, my, yes. Why are you doing it? How much better can you eat? What can you buy that you can't already afford? The future, Mr. Gittes! The future!