Robert Towne (born Robert Bertram Schwartz; November 23, 1934 – July 1, 2024) was an American screenwriter and director. He started writing films for Roger Corman, including The Tomb of Ligeia in 1964, and was later part of the New Hollywood wave of filmmaking.
He graduated from Pomona CollegeinClaremont, California, studying philosophy and literature.[7][8] After college, Towne served in the U.S. Army before doing odd jobs including working as a tuna fisherman.[8]
Corman was renowned for giving work to untested people of talent. Towne wrote the screenplay for the Corman-financed Last Woman on Earth (1960), in which Towne also played one of the lead roles.
He also wrote a screenplay for the Corman-directed The Tomb of Ligeia (1965). In 1981 Towne said "I worked harder on... [that] screenplay for him than on anything I think I have ever done."[9]
Towne went back to working in television when Corman hired him to write a script for a Western, which became A Time for Killing (1967). Corman left the project during filming and Towne took his name off the credits. Towne said later he "hated" the film.[10]
Towne's script for A Time for Killing had been read and admired by Warren Beatty who asked Towne to help out on the script for Bonnie and Clyde (1967). Towne later claimed his main contributions were removing the ménage à trois relationship between Bonnie, Clyde, and W.D., making some structural changes.[11] Towne was on set during filming and continued to work during post-production. The film was a huge success and although Towne's contribution was credited only as a "special consultant", he began to earn a reputation in Hollywood as a top script doctor.[12]
Towne was credited on Villa Rides (1968), which he later said he did as a favor for Robert Evans, head of Paramount. He hated the experience.[13]
Towne did uncredited work on the scripts for Drive, He Said (1971), directed by Jack Nicholson; Cisco Pike (1972), which Towne said turned into "a pretty good movie" but where he got "so angry with the director" he took his name off;[10] and The New Centurions (1972), where he was to share credit with Stirling Silliphant but asked for his name to be taken off after he saw the film.[14]
He did uncredited work for Francis Ford Coppola during the making of The Godfather (1972), mostly the final scene between Michael and Vito, shortly before Vito dies.[12] Coppola thanked Towne in his Academy Award speech for Best Screenplay.
Towne also did some work on The Parallax View (1974) at the behest of star Warren Beatty.
Towne received acclaim and was nominated in the Best Original and Adapted Screenplay categories for his scripts The Last Detail (1973), Chinatown (1974), and Shampoo (1975).
He won for Chinatown.[15][16][17] He later said it was inspired by a chapter in Carey McWilliams's Southern California Country: An Island on the Land (1946) and a West magazine article on Raymond Chandler's Los Angeles.
According to Sam Wasson's The Big Goodbye: Chinatown and the Last Years of Hollywood, Towne "secretly employed an old college friend named Edward Taylor as his uncredited writing partner for more than 40 years." (Taylor died in 2013).[18][19]
Towne turned to directing with Personal Best (1982). He also wrote the script for Greystoke: The Legend of Tarzan, Lord of the Apes, hoping to direct, but Personal Best was a financial failure, meaning he had to sell the Greystoke script. He grew dissatisfied with the production and credited his dog, P. H. Vazak, with the script. Vazak became the first dog nominated for an Oscar for screenwriting.[20]
His second feature film as director was Tequila Sunrise (1988), which he wrote back in the early 1980s. Towne told The New York Times that Tequila Sunrise is "a movie about the use and abuse of friendship."[16]
Towne expressed his disappointment in The Two Jakes in many interviews.[citation needed] He told writer Alex Simon, "In the interest of maintaining my friendships with Jack Nicholson and Robert Evans, I’d rather not go into it, but let’s just say The Two Jakes wasn’t a pleasant experience for any of us. But, we’re all still friends, and that’s what matters most."[22]
In a November 5, 2007, interview with MTV, Jack Nicholson claimed that Towne had written the part of Gittes specifically for him and had conceived Chinatown as a trilogy, with the third film set in 1968 and dealing in some way with Howard Hughes.[23] Towne said he did not know how the rumour started and denied any planned trilogy.
A project Towne had long sought to bring to the screen came to fruition in 2006 with Ask the Dust, a romantic period piece set in Los Angeles based on the acclaimed novelbyJohn Fante and starring Colin Farrell and Salma Hayek. Towne had found the novel decades earlier during his research for Chinatown, as he was looking for authentic descriptions of 1930s Los Angeles. He enjoyed the book, considering it "the best book about Los Angeles ever written", and arranged a meeting with Fante, himself a screenwriter. As a result of that meeting, Towne was granted the screen rights to the novel. The rights eventually lapsed, and the new owner was Mel Brooks. In 1993, Towne wrote the script for free in exchange for the chance to direct the film.[24] Tom Cruise (with Paula Wagner and Cruise/Wagner Productions) served as one of the film's producers. Ask the Dust received mixed reviews and failed at the box office. The film was entered into the 28th Moscow International Film Festival.[25]
Towne framed several of his signature films as elaborate melodramas. He told The New York Times "I think melodrama is always a splendid occasion to entertain an audience and say things you want to say without rubbing their noses in it. With melodrama, as in dreams, you're always flirting with the disparity between appearance and reality, which is a great deal of fun. And that's also not unrelated to my perception of my life working in Hollywood, where you're always wondering, 'What does that guy really mean?'"[16]
In 2006, Towne was the subject of artist Sarah Morris's film, Robert Towne. Morris describes him as an “elliptical figure” whose career exemplifies a certain characteristic mode of working in the film industry, marked by collaboration, shared or changing roles.[26] Morris's 19,744-square-foot (1,834.3 m2) painting installation in the lobby of the Lever House in Manhattan, commissioned by the Public Art Fund, was also titled "Robert Towne".[27]
In 1968, Towne met actress Julie Payne; they were married from 1977 to 1982.[29] According to Sam Wasson's The Big Goodbye: Chinatown and the Last Years of Hollywood, Towne was addicted to cocaine during this period and was occasionally violent, which led to a bitter divorce and custody battle over their daughter Katharine (born 1978).
In 1984, Towne married Luisa Gaule. They had one daughter, Chiara.[30]
He was the former son-in-law of late actor John Payne and actress Anne Shirley. Through his daughter Katharine, he was former father-in-law of actor Charlie Hunnam. Towne died at his home in Los Angeles on July 1, 2024, at the age of 89.[31]
In the book Fifty Filmmakers, journalist Andrew J. Rausch argues: "There is a strong case to be made that Robert Towne is the most gifted scribe ever to write for film. There can be little doubt that he is one of the finest ever."[49]
^Towne, Robert (6 December 2012). "Robert Towne Dusts Off a Classic". The Hollywood Interview (Interview). Interviewed by Alex Simon. Archived from the original on 23 September 2016. Retrieved 29 March 2020.
