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.

I'm generally somebody who hopes for the best. It's not what one ought to do in my line of work [screenwriting], but it is what I do.

We don't stop loving people just because we hate them, but we don't stop hating them either.

Loneliness doesn’t exist on any single plane of consciousness. It’s generally a low throb, barely audible, like the hum of a Mercedes engine in park, but every so often the demands of the highway call for a burst of acceleration, and the hum becomes a thunderous, elemental roar, and once again you’re reminded of what this baby’s carrying under the hood.

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.

I loved her for so long. Our past trails behind us like a comet's tail, the future stretched out before us like the universe. Things happen. People get lost and love breaks.

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.