You're torn between wanting to fill in all the spaces and knowing that's really going to screw up the screenplay. And yet, how are you going to communicate it to people who really don't understand the process? (Robert Towne)
But time has caught up with it and I think vindicated it. Shampoo, too: very dark, very ambitious movie. (Robert Towne)
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. (Robert Towne)
I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible. (Robert Towne)
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. (Robert Towne)
Roman is hands-down the best director I've ever worked with, ... But all of the 1970s was a great era because the studios really left you alone. What has come to be called 'independent film,' you could really do within the studio system at that time. (Robert Towne)
You're dumber than you think I think you are. (Robert Towne)
I started doing it and I couldn't stop. It really tired the patience of the people around me. (Robert Towne)
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. (Robert Towne)
I'm excited and encouraged to see people getting involved with their public lands and forests. We really need the public's help to repair these heavily used recreation sites. (Robert Towne)
But in the end we were guided by my memory of the place. (Robert Towne)
Colin, Salma, me - none of us took salaries in order to make this movie, in order to get it on film. So it was a movie made on spec. (Robert Towne)
It was not possible to film in California, because all the areas are heavily built up now. Coming to Cape Town is an invitation to step into the past and recreate Los Angeles of the 1930s. (Robert Towne)
There must have been something inevitable about it because we got it done. I lived with (the book) for 20 years when I didn't write (the adaptation), and when I did write it, I lived with it for the next 10, 12 years. (Robert Towne)
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. (Robert Towne)