A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
Sam ShepardRead
I stay away from heavy-handed stuff, the good guy and the bad guy. It just doesn't interest me; all it does is create more fences between people, I think.
Interpretation
The quote emphasizes the preference for nuanced perspectives over black-and-white moral distinctions in human interactions.
Sam Shepard's quote highlights a critical view of the simplistic labeling of individuals as good or bad, suggesting that such categorizations foster division and barriers between people. Instead, Shepard advocates for a more complex understanding of human nature, recognizing the shades of gray that define our interactions and experiences, which ultimately promotes empathy and connection rather than separation.
In practice
In a debate about morality in films, one might quote this to emphasize the importance of complexity in storytelling.
A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
I hate endings. Just detest them. Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. β¦ The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. Thatβs genius.
There are places where writing is acting and acting is writing. I'm not so interested in the divisions. I'm interested in the way things cross over.
Democracy's a very fragile thing. You have to take care of democracy. As soon as you stop being responsible to it and allow it to turn into scare tactics, it's no longer democracy, is it? It's something else. It may be an inch away from totalitarianism.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
There's no way to escape the fact that we've grown up in a violent culture, we just can't get away from it, it's part of our heritage. I think part of it is that we've always felt somewhat helpless in the face of this vast continent. Helplessness is answered in many ways, but one of them is violence.
The White man pays Reverend Martin Luther King so that Martin Luther King can keep the Negro defenseless.
If our free society is to endure, those who govern must recognize human dignity and accept the enforcement of constitutional limitations on their power conceived by the Framers . . . . Such recognition will not come from a technical understanding of the organs of government, or the new forms of wealth they administer. It requires something different, something deeper-a personal confrontation with the wellsprings of our society.
Everyone in the street where I grew up was given the same message: You can be anything; you can do anything. That wasn't extraordinary; that was ordinary for us. My folks didn't believe in black exceptionalism. There's nothing exceptional about 'You can have that, too' - except when it comes to justice. You can't have that.
What exactly is it that humans do that is specifically human? There has to be something. How odd it is for billions of people to be alive, yet not one of them is really quite sure of what makes people people.
In many climbing cultures, it seems that dirty ethics and poor style are acceptable. In mine they are not.
Imagination is always the fabric of social life and the dynamic of history. The influence of real needs and compulsions, of real interests and materials, is indirect because the crowd is never conscious of it.
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