Cameron Crowe Quotes

The only true currency in this bankrupt world are the moments you share with someone when you're uncool.

I always tell the girls never take it seriously, if you never take it seriously you never get hurt, if you never get hurt you always have fun, and if you ever get lonely just go to the record store and visit your friends.

The only true currency in this bankrupt world is the moments we share with one another when we're uncool.

I'm impossible to forget, but I'm hard to remember.

Colors. Would it be green or blue today? Maybe white—my favorite. A dark voice in the back of my mind offered no color at all as an alternative. I smothered that voice. The days of no color were simply too hard to bear. I needed color today.

You will never know the exquisite pain of the guy who goes home alone. Cause without the bitter, baby, the sweet ain't as sweet.

I will see you in another life when we are both cats.

You're beautifully naive Emmy... I don't want to change that

The day i met Cameron,the pieces started to flow into place,and the night that Cameron kissed me,the day that he sat next to me and told that he loved me,that was when the last piece of me were snapped into place.Every other second,minute,hour that i spent with Cameron after that moment made the last piece of my puzzle grow stronger,so that it made the damaged,the broken pieces become insignificant-mere background noise.But Cameron had taken the last piece of the puzzle with him,and a black hole was all that was left in its stead.How do you recover from that? How do you survive?You don't, I resolved.There's no coming back from that permanent void left inside of you.You become a shell,going through the motions without emotion,like a robot,while the rest of me was wherever Cameron was...

The record store was a place of escape. It was a library and a clubhouse” - Cameron Crowe quoted

Whatever it was that I felt was the weak link in my previous project gave me inspiration for the next one.

Unless you lock me in here, you can't expect me to barricade myself in your room when your gone all the time." Cameron smiled ruefully. "Why not? You could sit here counting the minutes til I came home after a hard day's work and made your wait worthwhile

Optimism is a revolutionary act

It's all happening!

I will tell you in another life when we are both cats.

Adolescence is a marketing tool.

Look at this - an entire generation of Cinderellas, and there’s no glass slipper.

One day you’ll know what love truly is, it’s the sour and the sweet. And I know the sour, which allows me to appreciate the sweet.

My dreams are a cruel joke, they taunt me. Even in my dreams I’m an idiot who knows he’s about to wake up to reality.

Isn’t what being young is about? Believing secretly that you would be the one person in the history of man who would live forever.

Every passing minute is another chance to turn it all around.

I gave her my heart, she gave me a pen.

When I saw the Cameron Crowe film We Bought A Zoo, it got me to thinking about how our lives are structured the same way as the zoo that was purchased by Benjamin Mee totally changed

The little things... there's nothing bigger is there?

The sweet is never as sweet without the sour

The crow had something in its mouth. It perched on the edge of the blanket, giving Maggie Rose one of those twisting-head looks that it must have learned from Casey. “Did you bring that for me?” my girl asked. Maggie Rose very carefully and slowly reached into her basket and brought out one of Casey’s peanuts. “That’s a metal washer. My dad has some in the garage. I’m sure he’d like another one. Would you like a reward for bringing it to me?” The crow dropped the metal thing from its mouth and bounced forward a few hops and very cautiously removed the peanut from Maggie Rose’s fingers. I followed the crow’s flight as it rose up into the trees and realized that all of its crow friends were up there watching this whole thing. “It’s a murder of crows, Lily,” Maggie Rose breathed. “And look how many of them are carrying something in their beaks!

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

I want to live a real life. I don’t want to dream any longer.

Fast Times at Ridgemont High (1982)—Not bad. It may fall into the general category of youth-exploitation movies, but it isn’t assaultive. The young director, Amy Heckerling, making her feature-film début, has a light hand. If the film has a theme, it’s sexual embarrassment, but there are no big crises; the story follows the course of several kids’ lives by means of vignettes and gags, and when the scenes miss they don’t thud. In this movie, a gag’s working or not working hardly matters—everything has a quick, makeshift feeling. If you’re eating a bowl of Rice Krispies and some of them don’t pop, that’s O.K., because the bowlful has a nice, poppy feeling. The friendship of the two girls—Jennifer Jason Leigh as the 15-year-old Stacy who is eager to learn about sex and Phoebe Cates as the jaded Valley Girl Linda who shares what she knows—has a lovely matter-of-factness. With Sean Penn as the surfer-doper Spicoli—the most amiable stoned kid imaginable. Penn inhabits the role totally; the part isn’t big but he comes across as a star. Also with Robert Romanus, Judge Reinhold, Brian Backer, and Ray Walston. The script, by Cameron Crowe, was adapted from his book about the year he spent at a California high school, impersonating an adolescent. The music—a collection of some 19 pop songs—doesn’t underline things; it’s just always there when it’s needed. Universal. color (See Taking It All In.)

After a mind-opening experience at Burning Man, Harris, in a move straight out of a Cameron Crowe screenplay, wrote a 144-slide manifesto titled “A Call to Minimize Distraction & Respect Users’ Attention.

Every passing minute is another chance to turn it all around.

Every passing minute is another chance to turn it all around.

It was such a beautiful and meticulous re-creation of the ship, too, from the Grand Staircase to the crow’s nest. I knew what the old lady looked like in her grave, and Jim showed me what she’d looked like as a young lady when she’d sailed from England. Cameron’s movie also captured the random nature of who lived and who died. I must say, that’s a question that has stuck with me ever since my summer in Army boot camp.