"Our relationships, relationships between adults, how all those pieces fit together - that's the most complicated thing we all face"
About this Quote
Condon’s line has the plainspoken candor of someone who’s spent a career choreographing intimacy for the camera: the biggest special effect isn’t spectacle, it’s two grown people trying to share a life without losing themselves. By repeating “relationships” and then narrowing it to “between adults,” he quietly rejects the cultural fantasy that maturity simplifies anything. Adulthood doesn’t resolve the mess; it professionalizes it. You get better vocabulary, higher stakes, and more ways to fail politely.
The phrase “how all those pieces fit together” reads like editing-room language. Condon is a director; he thinks in structure. Adult relationships are treated as a puzzle of incompatible cuts: desire, history, ambition, money, family obligations, aging bodies, private shame, public performance. The subtext is almost anti-romantic: love isn’t the problem to solve, logistics and self-knowledge are. He’s pointing at the invisible labor that movies often skip past with a montage, except his films tend to linger there, in the uncomfortable in-betweens where people renegotiate who they are.
Contextually, it tracks with a filmmaker drawn to characters managing identity under pressure - closeted lives, reinvention, marriages that are part refuge, part trap. The line’s modesty is its persuasion. No grand declaration, just a weary, observant claim that hits because it matches lived experience: adult connection isn’t a finish line, it’s ongoing maintenance, performed in real time, with no script supervisor to call “cut” when the scene turns.
The phrase “how all those pieces fit together” reads like editing-room language. Condon is a director; he thinks in structure. Adult relationships are treated as a puzzle of incompatible cuts: desire, history, ambition, money, family obligations, aging bodies, private shame, public performance. The subtext is almost anti-romantic: love isn’t the problem to solve, logistics and self-knowledge are. He’s pointing at the invisible labor that movies often skip past with a montage, except his films tend to linger there, in the uncomfortable in-betweens where people renegotiate who they are.
Contextually, it tracks with a filmmaker drawn to characters managing identity under pressure - closeted lives, reinvention, marriages that are part refuge, part trap. The line’s modesty is its persuasion. No grand declaration, just a weary, observant claim that hits because it matches lived experience: adult connection isn’t a finish line, it’s ongoing maintenance, performed in real time, with no script supervisor to call “cut” when the scene turns.
Quote Details
| Topic | Relationship |
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