Sam Shepard Quotes
I'm still very much a believer in the spontaneity of certain kinds of writing. But then you have to eventually, when you're writing a long play, make adjustments along the way - all kinds of adjustments.
Quotes to Explore
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I was in a Nativity play as a kid. Back then, I played the donkey.
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I guess I went into journalism to save the world. I always felt through writing that I wanted to rotate the world slightly.
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Study first, play afterwards.
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If God wants to take my left arm, that's OK, as long as I can walk and play with my kids. I'm a lot improved. I was worse than this after the accident.
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Writing 'William Shakespeare's Star Wars' was a fun exercise in mixing just the right amount of the Bard with just the right amount of everyone's favorite galaxy far, far away.
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If you ask me, rockabilly has had a raw deal for far too long. People never shunned the blues or jazz the way they do rockabilly. But it's the original punk-rock, and it changed the way people looked at music for ever.
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Emotions come first, and in the most direct sense: you first have an emotion and then have a feeling. But also first in the history of the human race, for the ability to have emotions long preceded the ability to have feelings.
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I don't really have an aversion to watching myself. I think I've been doing it for long enough that I have a system of separating it in my brain from my egotistical neuroses for the most part.
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I love writing songs.
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Consider well this fact: As long as the German people does not arise and use force directed by its own will, the assassination of the people will continue.
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It's funny - I read that women look to chiseled-faced guys for one-night stands, and to round-faced guys for marriage. When I'm rounder in the face, I like to say, 'This is my long-term look.' Or 'This is my wife-and-kids look right here.'
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And when I first came out from New York, I hadn't driven in a long time. Now I'm like Joe Speedster.
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I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted 'Tsotsi,' so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.
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I like collaboration because, first of all, I'm good at writing lyrics. I don't know how to make beats. I don't play instruments. I'm not a good singer. So even when you see a solo album of mine, it's still a collaboration.
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It's one of the few regrets of my presidency - that the rancor and suspicion between the parties has gotten worse instead of better. There's no doubt a president with the gifts of Lincoln or Roosevelt might have better bridged the divide, and I guarantee I'll keep trying to be better so long as I hold this office.
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Life is one long jubilee.
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I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
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Being a woman in country is really empowering. It's a genre where you can truly say whatever you want to say as long as you're 100% behind your message and who you are.
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I'm open to all kind of scripts. As long as there's enough scope to perform, I'd take up the offer. In fact, before Yuvan and 'TT' happened, I got an opportunity to work with a top actor-director combination. But my height proved to be a setback.
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Not to sound bad, but some girls are dumb. It's because they spend so much of their life trying to have the right look. On the other hand, some girls are just really smart. There are girls you can have conversations with that are healthy conversations. You can argue real life issues and solve problems together. That is what makes a woman sexy.
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Many critics, when trying to praise a short-story collection, will say that it has the heft and scope of a good novel. But for me, one of the highest compliments you can pay a novel is to say that it has the rich texture and eloquent detail of a good story collection.
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I want to get off with the screenwriting.
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The battles that count aren't the ones for gold medals. The struggles within yourself - the invisible, inevitable battles inside all of us - that's where it's at.
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I'm still very much a believer in the spontaneity of certain kinds of writing. But then you have to eventually, when you're writing a long play, make adjustments along the way - all kinds of adjustments.
