It's hard to imagine her ever having felt lost, but it's impossible to know the people your parents were before they were your parents.

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 wake up like this, this sense that I've somehow been transported to an alternate universe where my life took a left instead of a right beacuse of some seeemingly insignificant yet cosmically crucial choice I've made, about a girl or a kiss or a date or a job or which Starbucks I went into...something.

Fate already warned us to pack it in. We just didn’t hear it in time.

The thing about living alone is that it gives you a lot of time to think. You don't necessarily reach any conclusions, because wisdom is largely a function of intelligence and self-awareness, not time on your hands. But you do become very good at thinking yourself into endless loops of desperation in half the time it would take a normal person.

...the first thing you do at the end is reflect on the beginning. Maybe it's some form of reverse closure, or just the basic human impulse toward sentimentality, or masochism, but as you stand there shell-shocked in the charred ruins of your life, your mind will invariably go back to the time when it all started. And even if you didn't fall in love in the eighties, in your mind it will fee like the eighties, all innocent and airbrushed, with bright colors and shoulder pads and Pat Benatar or The Cure on the soundtrack.

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.