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 feel like I'm a natural-born playwright, but the prose thing has always mystified me. How to keep it going? How do people do it, for years and years?
Interpretation
Sam Shepard expresses his natural inclination towards playwriting while feeling perplexed by the continuous effort required in prose writing.
In this quote, Sam Shepard articulates a sense of innate talent in playwriting but simultaneously conveys his bewilderment at the craft of prose writing. He wonders how writers manage to produce sustained narratives over long periods, highlighting the distinct challenges associated with different forms of writing and the dedication involved in maintaining creative output.
In practice
In a writing workshop, when discussing struggles in maintaining creativity, you might cite this quote to illustrate common challenges.
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 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.
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.
All stories interest me, and some haunt me until I end up writing them. Certain themes keep coming up: justice, loyalty, violence, death, political and social issues, freedom.
Music is my way of taking my mind away from the game. When I'm singing, you don't got anything to worry about. Don't gotta worry about scoring however many points or winning the game. No matter how good or how bad you are, it's fun.
Great music is its own movie, already. And the challenge, as a music fan, is to keep the song as powerful as it wants to be, to not tamper with it and to somehow give it a home.
The essence of dramatic form is to let an idea come over people without it being plainly stated. When you say something directly, it's simply not as potent as it is when you allow people to discover it for themselves.
Can a film really change anything? I mean, what was the last time? Maybe the Italian neo-realists, where they became the voice and the heart and the soul of Italy, a nation that had been destroyed. I don't know.
I think you have to have a real point of view that's your own. You have to tell it your way. And, I think that it's a mistake to shoot for a specific magazine's point of view because it's never going to be as good. You have to shoot for yourself and photograph [ the way] you believe it.
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