Robert Towne Quotes

I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keeps moving. I try to structure the stories like a screenplay may be structured.

A scene has to have a rhythm of its own, a structure of its own.

There has to be the right pacing of images to tell the story. I'm always stunned at how little you can put in.

In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.

And you're a bad boy?" I asked. Ollie's grin was contagious. "Oh, I'm a bad, bad boy." Cam shot his friend a look. "Yeah, as in bad at spelling, math, english, cleaning up after yourself, talking to people, and I could go on.

All writing is discipline, but screenwriting is a drill sergeant.

Some people would find just the rhythm of my films alone to be a nightmare; they'd probably just fall asleep because they want something quicker. Other people fall into it and it works for them like a dream.

I find that when you open on a group of people sitting down and talking, the scene sits down with them. The best antidote for that is an entrance. Begin the scene with someone entering, and somehow it’s more interesting.

I don't want to spend my entire life drawing talking heads. It seems like a waste of everyone's time.

No matter how tight the shot is, if I'm narrating it too much, there's a barrier between you and the experience, because the process of reading a book, or watching a movie, or watching a play is that you're watching a dream.

I tell them that if they will occupy themselves with the study of mathematics they will find in it the best remedy against the lusts of the flesh.

I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.

A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."

Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking.

The magic of comics is that there are three people involved in any comic: There is whoever is writing it, and whoever is drawing it, and then there's whoever is reading it, because the really important things in comics are occurring in the panel gutters, they're occurring between panels as the person reading the comics is moving you through, is creating a film in their heads.

...I think there's only one [thing] that anybody teaches, and this is character. And I think that whether you are teaching history, math, or biology, or music, what you are really doing is, you are helping to shape the character of that person who is your student... Music is such a wonderful teaching tool, because while you are developing musical skills, that student can learn a lot about discipline [and] cooperation.

[E]very plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points tend to the development of the intention.

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.

I open the driving range and I close it. I thought you ought to know that I work hard. I like practising. I enjoy it. If I did not enjoy it I would not do it. What is the point of going back to the hotel, having a drink and talking a load of bull?

Here. All of you. And you, doorkeeper. No one is to be let out of the house today. And anyone I catch talking about this young lady will be first beaten to death and then burned alive and after that be kept on bread and water for six weeks. There.

Movies are pieces of film stuck together in a certain rhythm, an absolute beat, like a musical composition. The rhythm you create affects the audience.

A Winner's Blueprint for Achievement BELIEVE while others are doubting. PLAN while others are playing. STUDY while others are sleeping. DECIDE while others are delaying. PREPARE while others are daydreaming. BEGIN while others are procrastinating. WORK while others are wishing. SAVE while others are wasting. LISTEN while others are talking. SMILE while others are frowning. COMMEND while others are criticizing. PERSIST while others are quitting.

We need to eliminate the existing hierarchy of subjects. Elevating some disciplines over others only reinforces outmoded assumptions of industrialism and offends the principle of diversity. The arts, sciences, humanities, physical education, languages and maths all have equal and central contributions to make to a student's education.

Woody makes a movie as if he were lighting 10,000 safety matches to illuminate a city. Each one is a little epiphany: topical, ethnic, or political.