Sam Shepard Biography
Sam Shepard was AN yank actor, playwright, author, scriptwriter, and director. He was the winner of 10 Obie Awards for writing and directing, the most won by any writer or director. He wrote forty-four plays still as many books of short stories, essays, and memoirs. Shepard received the publisher Prize for Drama in 1979 for his play Buried kid ANd was appointed for an accolade for Best Supporting Actor for his portrayal of pilot Chuck Yeager within the 1983 film the proper Stuff. He received the PEN/Laura Pels International Foundation for Theater Award as a master yank writer in 2009. New York magazine represented Shepard as “the greatest yank dramatist of his generation.”
Shepard’s plays are well-known for his or her bleak, poetic, surrealist elements, black comedy, and rootless characters living on the outskirts of American society. His vogue evolved from the absurdism of his early off-off-Broadway work to the realism of later plays like Buried kid and Curse of the Starving category.
Sam Shepard Age
Shepard’s sunrise was on November 5, 1943, while his sunset was on July 27, 2017, aged 73.
Sam Shepard Family
Sam Shepard (born Samuel Shepard Rogers) was born in Fort Sheridan, Illinois. He was named Samuel Shepard Rogers III when his father, Samuel Shepard Rogers, Jr., but was called Steve Rogers. Samuel Shepard Rogers, Jr. was a lecturer and farmer WHO served within u. s. Army Air Forces as a bomber pilot throughout war II. Shepard characterized his father as “a drinking man, an infatuated alcoholic”. His mother, Jane Elaine, was a teacher and a native of Chicago.
Sam Shepard Education
As a child, he attended Duarte High School in Duarte, California in 1961, graduated and then worked on a ranch as a teenager. He then went to Mt. San Antonio College, where he briefly studied animal husbandry. There, he became enamored of Samuel Beckett, jazz, and abstract expressionism. He dropped out to join a touring repertory group, the Bishop’s Company.
Sam Shepard Wife
From 1970 to 1971, Shepard was involved in an extramarital affair with musician Patti Smith, who remained unaware of Shepard’s identity as a multiple Obie Award-winning playwright until it was divulged to her by Jackie Curtis. According to Smith, “Me and his wife still even liked each other. I mean, it wasn’t like committing fornication within the suburbs or one thing.”
Shepard met Academy Award-winning actress Jessica Lange on the set of the film Frances, in which they were both actings. He captive in along with her in 1983, and they were together for 26 years; they separated in 2009.
Sam Shepard Children | Sam Shepard Daughter
They had two children, Hannah Jane Shepard (born 1986) and Samuel Walker Shepard (born 1987). In 2003, Shepard’s elder son, Jesse, wrote a book of short stories, and Shepard appeared with him at a reading at City Lights Bookstore.
Sam Shepard True West
True West may be a play by Yankee dramatist playwright. Some critics contemplate it the third of a Family triad which incorporates Curse of the Starving category (1976) and Buried kid (1979). Others contemplate it a part of a quintet that includes Fool for Love (1983) and A Lie of the Mind (1985).
True West was a rival for the Pulitzer Prize for Drama in 1983.
Sam Shepard Fool For Love
Fool for Love is a play written by Yankee writer and actor dramatist. The play focuses on might and Eddie, former lovers United Nations agency have met once more in an exceedingly motor hotel within the desert. The play premiered in 1983 at the Magic Theatre in San Francisco, where Shepard was the playwright-in-residence. The play was a challenger for the 1984 Joseph Pulitzer Prize for Drama.
The play is an element of a quintet which incorporates Shepard’s Family Trilogy: Curse of the Starving category (1977), Buried Child (1979), and True West (1980). The quintet concludes with Fool for Love and A Lie of the Mind (1985).
Sam Shepard The Right Stuff
The Right Stuff is a 1983 yank epic historical drama film. It was custom-made from Tom Wolfe’s popular 1979 book of constant name regarding the Navy, Marine and Air Force check pilots WHO were concerned in natural philosophy analysis at Edwards Air Force Base, California, yet because the Mercury Seven, the seven military pilots WHO were designated to be the astronauts for Project Mercury, the primarily manned voyage by the United States.
The Right Stuff was written and directed by Prince Philipinburgh|prince} playwright and stars Ed Harris, Scott spaceman, dramatist, Fred Ward, Dennis Quaid and Barbara Hershey. Levon Helm is that the speaker within the introduction et al within the film, yet as having a co-starring role as Air Force airplane pilot Jack marine turtle.
The film was a box-office failure, grossing about $21 million against a $27 million budget. Despite this, it received widespread crucial acclaim and eight laurels nominations at the 56th Academy Awards, four of that it won. In 2013 the film was designated for preservation within us National Film written account by the Library of Congress as being “culturally, traditionally, or aesthetically significant”.
Sam Shepard Death | Sam Shepard Funeral
He died on July 27, 2017, at his home in Kentucky, aged 73, from complications of amyotrophic lateral sclerosis. Patti Smith paid homage to their long collaboration in The New Yorker.
Sam Shepard Career
Shepard found work as a dining-room attendant at the Village Gate club once he arrived in the big apple town, and in 1962 became concerned within the off-off-Broadway theater scene through Ralph Cook, the Village Gate’s head waiter. Steve Rogers then adopted the skilled name Sam Shepard through his plays would eventually be staged at many off-off-Broadway venues, Shepard was most closely connected with Cook’s Theatre Genesis, housed at St. Mark’s Church in-the-Bowery in the East Village.
In 1965, Shepard’s one-act plays Dog and therefore the rocker were created at La MaMa Experimental Theatre Club. This was the primary in several productions of Shepard’s work on La MaMa during the 1960s, 1970s, and 1980s.
In 1967, Tom O’Horgan directed Shepard’s comedy Play aboard writer Melfi’s Times Square and Rochelle Owens’ Futz at La MaMa. In 1969, Jeff Bleckner directed Shepard’s phantasy play The Unseen Hand at La MaMa. The Unseen Hand would later influence Richard O’Brien’s musical The Rocky Horror Show. Bleckner then directed The Unseen Hand alongside Forensic and the Navigators at the nearby Astor Place Theater in 1970.
Shepard’s play shaven Splits was directed at La MaMa in 1970 by Bill Hart. Seth Allen directed comedy Play at La MaMa the subsequent year. In 1981, Tony Barsha directed The Unseen Hand at La MaMa. The production then transferred to the Provincetown plaything and ran for over a hundred performances. Syracuse Stage co-produced The Tooth of Crime at La MaMa in 1983 additionally in 1983, the Overtone Theatre and New Writers at the west co-produced Shepard’s plays Superstitions and therefore the unhappy Lament of Pecos Bill on the Eve of Killing His married person at La MaMa. John Densmore performed in his own play Skins and Shepard and Joseph Chaikin’s play Tongues, directed as a double bill by Tony Abatemarco, at La MaMa in 1984. Nicholas Swyrydenko
directed a production of earth science of a Horse Dreamer at La MaMa in 1985.
Several of Shepard’s early plays, together with Red Cross (1966) and La Turista (1967), were directed by Jacques Levy. A patron of the Chelsea edifice scene, he additionally contributed to Kenneth Tynan’s Oh! Calcutta! (1969) and drummed periodically from 1967 through 1971 with the psychedelic people band The Holy Modal Rounders, showing on their albums Indian outcry (1967) and therefore the eel Eels Eat The Holy Modal Rounders (1968). After winning six Obie Awards between 1966 and 1968, Shepard emerged as a scriptwriter with Robert Frank’s Maine and My Brother (1968) and designer Antonioni’s Zabriskie purpose (1970).
Cowboy Mouth, a collaboration with his then-lover Patti Smith, was staged at The American Place Theatre in April 1971, providing early exposure for Smith, who became a well-known musician. The story and characters in Cowboy Mouth were loosely impressed by Shepard and Smith’s relationship. After the start, he abandoned the assembly and fled to the geographical area while not a word to anyone concerned.
Shortly thenceforth, Shepard resettled together with his married person and son to London. While in London, he immersed himself within the study of G. I. Gurdjieff’s Fourth method, a continual preoccupation for a lot of his life. Returning to us in 1975, he rapt to the 20-acre Flying Y Ranch in Mill Vale, California, where he raised a young colt named Drum and rode double together with his young son on Associate in Nursing riding horse named impresario. Shepard continued to write plays and served for a semester as Regents’ Professor of Drama at the University of California, Davis. Shepard attended vocalizer on the Rolling Thunder variety of 1975 because the scriptwriter for Renaldo and Clara that emerged from the tour. However, as a result of a lot of the film was makeshift, Shepard’s work was rarely used. His diary of the tour, Rolling Thunder book, was printed in 1978. A decade later, Dylan and Shepard co-wrote the 11-minute song “Brownsville Girl”, enclosed on Dylan’s 1986 Knocked Out Loaded album and on later compilations.
In 1975, Shepard was named playwright-in-residence at the Magic Theatre in San Francisco, wherever he created several of his notable works, together with his Family triad. One of the plays within the triad, Buried kid (1978), won the Pulitzer Prize and was appointed for 5 Tony Awards. This marked a major turning point in his career, heralding a number of his known work, together with True West (1980), Fool for Love (1983), and A Lie of the Mind (1985). A comic tale of reunion, in which a young man drops in on his grandfather’s Illinois farmstead only to be greeted with indifference by his relations, Buried Child saw Shepard stake a claim to the psychological piece of ground of classic yank theater. True West and Fool for Love were afterward appointed for the Pulitzer Prize. Some critics have expanded the trilogy to a quintet, including Fool for Love and A Lie of the Mind. Shepard won a record-setting ten Obie Awards for writing and directional between 1966 and 1984.
In 2010, A Lie of the Mind was revived in the big apple at a similar time as Shepard’s new play Ages of the Moon opened there reflective on the 2 plays, Shepard aforesaid that the older play felt “awkward”, adding, “All of the characters square measures in a very broken place, broken into items, and the pieces don’t really fit together,” while the newer play “is like a Porsche. It’s sleek, it will specify what you would like it to try to, and it will speed up however additionally shows off nice brakes.” The revival {and the|and therefore the|and additionally the} new play also coincided with the publication of Shepard’s collection Day out of Days: Stories. The book includes “short stories, poems, and narrative sketches… that developed from dozens of leather-bound notebooks [Shepard] carried with him over the years.”
Shepard began his film acting career when casting in a major role as the doomed land baron in Terrence Malick’s Days of Heaven (1978), opposite Richard Gere and Brooke Adams. This light-emitting diode to alternative vital film roles, including that of Cal, Ellen Burstyn’s character’s love interest in Resurrection (1980), and, most notably, Shepard’s portrayal of Chuck Yeager in The Right Stuff (1983). The latter performance attained Shepard associate degree honor nomination for Best Supporting Actor. By 1986, Fool for Love was adapted by Robert Altman with Shepard in the lead role; A Lie of the Mind was being performed Off-Broadway with an all-star cast (including William Harvey Keitel and Geraldine Page), and Shepard was operating steadily as a movie actor. Together, these achievements place him on the quilt of Newsweek.
Over the years, Shepard educated extensively on playwriting and alternative aspects of theater. He gave categories and seminars at numerous theater workshops, festivals, and universities. Shepard was nonappointive to the Yankee Academy of Arts and Letters in 1986 and was nonappointive a Fellow of the Yankee Academy of Arts and Sciences in 1986. In 2000, Shepard incontestible his feeling to the Magic Theatre by staging The Late Henry bryophyte as a profit for the theatre, in an urban center. The forged enclosed Nick Nolte, Sean Penn, Woody Harrelson, and Cheech Marin.
The limited, three-month run was sold out. In 2001, Shepard played General William F. Garrison in the film Black Hawk Down. Although he was forged during a supporting role, Shepard enjoyed renewed interest in his talent for screen acting.
Shepard performed Spalding Gray’s final monologue, Life Interrupted, for the audiobook version, released in 2006. In 2007, Shepard contributed stringed instrument to Patti Smith’s cowl of Nirvana’s song “Smells Like young Spirit” on her album Twelve. Although several artists had associate degree influence on Shepard’s work, one in every of the foremost vital was Joseph Chaikin, a veteran of The Living Theatre and founder of The Open Theater. The two worked together on various projects, and Shepard has stated that Chaikin was a valuable mentor. In 2011, Shepard starred in the film Blackthorn. His final film look is rarely Here, that premiered in June 2017 however had been recorded within the fall of 2014. Shepard additionally appeared within the tv series Bloodline
between 2014-2017.
At the start of his career, Shepard failed to direct his own plays. His early plays had a variety of various administrators but were most frequently directed by Ralph Cook, the founder of Theatre Genesis. Later, whereas living at the Flying Y Ranch, Shepard fashioned a winning playwright-director relationship with Robert Woodruff, who directed the premiere of Buried Child (1982), among other plays. During the Nineteen Seventies, Shepard determined that his vision for his plays needed him to direct them himself. He directed several of his own plays from that time on. With solely a couple of exceptions, he did not direct plays by other playwrights. He additionally directed 2 films, however reportedly failed to see film leading as a significant interest.
Sam Shepard Filmography
As actor
Film
Year |
Title |
Role |
1970 | Brand X | Unknown |
1978 | Renaldo and Clara | Rodeo |
1978 | Days of Heaven | The Farmer |
1980 | Resurrection | Cal Carpenter |
1981 | Raggedy Man | Bailey |
1982 | Frances | Harry York |
1983 | The Right Stuff | Chuck Yeager |
1984 | Country | Gilbert “Gil” Ivy |
1985 | Fool for Love | Eddie |
1986 | Crimes of the Heart | Doc Porter |
1987 | Baby Boom | Dr. Jeff Cooper |
1989 | Steel Magnolias | Spud Jones |
1990 | Bright Angel | Jack |
1991 | Voyager | Walter Faber |
1991 | Defenseless | Detective Beutel |
1992 | Thunderheart | Frank Coutelle |
1993 | The Pelican Brief | Thomas Callahan |
1994 | Safe Passage | Patrick Singer |
1997 | The Only Thrill | Reece McHenry |
1998 | Curtain Call | Will Dodge |
1999 | Purgatory | Sheriff Forrest/Wild Bill Hickok |
1999 | Snow Falling on Cedars | Arthur Chambers |
2000 | Hamlet | Ghost |
2000 | All the Pretty Horses | J.C. Franklin |
2001 | The Pledge | Eric Pollack |
2001 | Swordfish | James Reisman |
2001 | Black Hawk Down | William F. Garrison |
2002 | Leo | Vic |
2003 | Blind Horizon | Sheriff Jack Kolb |
2004 | The Notebook | Frank Calhoun |
2005 | Don’t Come Knocking | Howard Spence |
2005 | Stealth | George Cummings |
2006 | Bandidas | Bill Buck |
2006 | Walker Payne | Syrus |
2006 | The Return | Ed Mills |
2006 | Charlotte’s Web | Narrator |
2007 | The Assassination of Jesse James by the Coward Robert Ford | Frank James |
2008 | The Accidental Husband | Wilder Lloyd |
2008 | Felon | Gordon Camrose |
2009 | Brothers | Hank Cahill |
2010 | Fair Game | Sam Plame |
2010 | Inhale | James Harrison |
2011 | Blackthorn | Butch Cassidy |
2012 | Shepard & Dark | Himself |
2012 | Darling Companion | Sheriff Morris |
2012 | Safe House | Harlan Whitford |
2012 | Killing Them Softly | Dillon |
2012 | Mud | Tom Blankenship |
2013 | Savannah | Mr. Stubbs |
2013 | August: Osage County | Beverly Weston |
2013 | Out of the Furnace | Gerald “Red” Baze |
2014 | Cold in July | Ben Russell |
2015 | Ithaca | Willie Grogan |
2016 | Midnight Special | Calvin Meyer |
2016 | In Dubious Battle | Mr. Anderson |
2017 | Never Here | Paul Stark |
Television
Year |
Title |
Role |
1995 | The Good Old Boys | Snort Yarnell |
1996 | Lily Dale | Pete Davenport |
1999 | Streets of Laredo | Pea Eye Parker |
1999 | Purgatory | Sheriff Forrest / Wild Bill Hickok |
1999 | Dash and Lilly | Dashiell Hammett |
2000 | One Kill | Major Nelson Gray |
2000 | Great Performances | Narrator (voice) |
2001 | After the Harvest | Caleb Gare |
2001 | Shot in the Heart | Frank Gilmore, Sr. |
2007 | Ruffian | Frank Whiteley |
2010 | Rough Trade | (Role unknown) |
2014 | Klondike | Father Judge |
2015–2017 | Bloodline | Robert Rayburn |
As writer
Film
Year |
Title |
Notes |
1969 | Me and My Brother | Co-writer |
1970 | Zabriskie Point | Co-writer |
1972 | Oh! Calcutta! | Sketch contributions |
1978 | Renaldo and Clara | Co-writer |
1981 | Savage/Love | Short film |
1982 | Tongues | Short film |
1984 | Paris, Texas | Co-writer |
1985 | Fool for Love | |
1988 | Far North | Also director |
1994 | Silent Tongue | Also director |
1994 | Curse of the Starving Class | |
1999 | Simpatico | |
2005 | Don’t Come Knocking | Co-writer |
2007 | Fool for Love | Short film |
Television
Year |
Title |
Notes |
1974 | ITV Saturday Night Theatre | Episode: “Geography of a Horse Dreamer” |
1984 | American Playhouse | Episode: “True West” |
1986 | Den sultende klasses forbannelse | Norwegian adaptation of Curse of the Starving Class |
1991 | Autèntic oest | Spanish adaptation of True West |
1991 | Loucos Por Amor | Portuguese adaptation of Fool for Love |
1995 | O Verdadeiro Oeste | Portuguese adaptation of True West |
1996 | Pazzo d’amore | Italian adaptation of Fool for Love |
2002 | True West | Adaptation of True West |
2004 | See You in My Dreams | Adapted from Cruising Paradise and Motel Chronicles |
Sam Shepard Bibliography | Sam Shepard Books
- Plays
- 1964: Cowboys
- 1964: The Rock Garden
- 1965: Chicago
- 1965: Icarus’s Mother
- 1965: 4-H Club
- 1966: Red Cross
- 1967: La Turista
- 1967: Cowboys #2
- 1967: Forensic & the Navigators
- 1969: The Unseen Hand
- 1969: Oh! Calcutta! (contributed sketches)
- 1970: The Holy Ghostly
- 1970: Operation Sidewinder
- 1971: Mad Dog Blues
- 1971: Back Bog Beast Bait
- 1971: Cowboy Mouth (with Patti Smith)
- 1972: The Tooth of Crime
- 1974: Geography of a Horse Dreamer
- 1975: Action
- 1976: Angel City
- 1976: Suicide in B Flat
- 1977: Inacoma
- 1978: Curse of the Starving Class
- 1978: Buried Child
- 1978: Tongues (with Joseph Chaikin)
- 1979: Seduced: a Play in Two Acts
- 1980: True West
- 1981: Savage/Love (with Joseph Chaikin)
- 1983: Fool for Love
- 1985: A Lie of the Mind
- 1987: A Short Life of Trouble
- 1987: The War in Heaven
- 1987; “Baby Boom”
- 1989; “Steel Magnolias”
- 1991: States of Shock
- 1993: Simpatico
- 1996 Tooth of Crime (Second Dance)
- 1998: Eyes for Consuela
- 2000: The Late Henry Moss
- 2004: The God of Hell
- 2007: Kicking a Dead Horse
- 2009: Ages of the Moon
- 2012: Heartless
- 2014: A Particle of Dread (Oedipus Variations)
- Collections
- 1973: Hawk Moon, PAJ Books; ISBN 0-933826-23-0
- 1983: Motel Chronicles, City Lights; ISBN 0-87286-143-0
- 1984: Seven Plays, Dial Press, 368 pages; ISBN 0-553-34611-3
- 1984: Fool for Love and Other Plays, Bantam Books, 320 pages; ISBN 0-553-34590-7
- 1996: The Unseen Hand: and Other Plays, Vintage Books, 400 pages; ISBN 0-679-76789-4
- 1996: Cruising Paradise, Vintage Books, 255 pages; ISBN 0-679-74217-4
- 2003: Great Dream of Heaven, Vintage Books, 160 pages; ISBN 0-375-70452-3
- 2004: Rolling Thunder Logbook, Da Capo Press, 176 pages (reissue); ISBN 0-306-81371-8
- 2004: Day out of Days: Stories, Knopf, 304 pages; ISBN 978-0-307-26540-1
- 2013: Two Prospectors: The Letters of Sam Shepard and Johnny Dark, University of Texas Press, 400 pages; ISBN 978-0-292-76196-4
- Novels
- 2017: The One Inside, Knopf, 172 pages; ISBN 978-0-451-49458-0
- 2017: Spy of the First Person, Knopf, 96 pages (published posthumously); ISBN 978-0-525-52156-3
Sam Shepard Awards
Academy Awards
Year |
Nominated work |
Category |
Result |
1983 | The Right Stuff | Best Supporting Actor |
Nominated |
American Academy of Arts and Letters Awards
Year |
Nominated work |
Category |
Result |
1992 | Himself | Gold Medal for Drama |
Won |
American Theater Hall of Fame
Year |
Nominated work |
Category |
Result |
1994 | Himself | Theater Hall of Fame |
Won |
British Academy of Film and Television Arts Awards
Year |
Nominated work |
Category |
Result |
1984 | Paris, Texas | Best Adapted Screenplay |
Nominated |
Capri Hollywood Awards
Year |
Nominated work |
Category |
Result |
2013 | August: Osage County | Ensemble Cast |
Won |
Cinema Writers Circle Awards
Year |
Nominated work |
Category |
Result |
2012 | Blackthorn | Best Actor |
Nominated |
Critics’ Choice Movie Awards
Year |
Nominated work |
Category |
Result |
2013 | August: Osage County | Best Acting Ensemble |
Nominated |
Detroit Film Critics Society Awards
Year |
Nominated work |
Category |
Result |
2013 | August: Osage County | Best Ensemble |
Nominated |
Drama Desk Awards
Year |
Nominated work |
Category |
Result |
1983 | True West | Outstanding Play |
Nominated |
1986 | A Lie of the Mind |
Won |
|
2000 | True West | Outstanding Revival of a Play |
Nominated |
Emmy Awards
Year |
Nominated work |
Category |
Result |
Primetime Emmy Awards |
|||
1999 | Dash and Lilly | Outstanding Lead Actor in a Miniseries or a Movie |
Nominated |
Film Independent Spirit Awards
Year |
Nominated work |
Category |
Result |
2013 | Mud | Robert Altman Award |
Won |
Golden Globe Awards
Year |
Nominated work |
Category |
Result |
1999 | Dash and Lilly | Best Actor in a Mini-Series or Motion Picture Made for TV |
Nominated |
Gradiva Awards
Year |
Nominated work |
Category |
Result |
1997 | When the World Was Green | Best Play |
Won |
Guggenheim Fellowship Awards
Year |
Nominated work |
Category |
Result |
1968 | Himself | Creative Arts – Drama & Performance Art |
Won |
Hollywood Film Festival Awards
Year |
Nominated work |
Category |
Result |
2013 | August: Osage County | Ensemble of the Year |
Won |
Lone Star Film & Television Awards
Year |
Nominated work |
Category |
Result |
1997 | Lily Dale | Best TV Supporting Actor |
Won |
Lucille Lortel Awards
Year |
Nominated work |
Category |
Result |
2010 | A Lie of the Mind | Outstanding Revival |
Nominated |
New York Drama Critics’ Circle Awards
Year |
Nominated work |
Category |
Result |
1986 | A Lie of the Mind | Best Play |
Won |
Obie Awards
Year |
Nominated work |
Category |
Result |
1966 | Chicago | Best Distinguished Play(s) |
Won |
Icarus’s Mother | |||
Red Cross | |||
1967 | La Turista |
Won |
|
1968 | Forensic and the Navigator |
Won |
|
Melodrama Play | |||
1973 | The Tooth of Crime |
Won |
|
1975 | Action | Best Playwriting |
Won |
1977 | Curse of the Starving Class | Best New American Play |
Won |
1979 | Buried Child | Best Playwriting |
Won |
1980 | Himself | Sustained Achievement Award |
Won |
1984 | Fool for Love | Best New American Play |
Won |
Best Direction |
Won |
Olivier Awards
Year |
Nominated work |
Category |
Result |
1987 | A Lie of the Mind | Play of the Year |
Nominated |
Outer Critics Circle Award Awards
Year |
Nominated work |
Category |
Result |
1986 | A Lie of the Mind | Best Off-Broadway Play |
Won |
PEN American Center Awards
Year |
Nominated work |
Category |
Result |
2009 | Himself | PEN/Laura Pels International Foundation for Theater Award |
Won |
Phoenix Film Critics Society Awards
Year |
Nominated work |
Category |
Result |
2001 | Black Hawk Down | Best Acting Ensemble |
Nominated |
2013 | August: Osage County |
Nominated |
Pulitzer Prizes
Year |
Nominated work |
Category |
Result |
1979 | Buried Child | Drama |
Won |
1983 | True West |
Nominated |
|
1984 | Fool for Love |
Nominated |
Screen Actors Guild Awards
Year |
Nominated work |
Category |
Result |
2007 | Ruffian | Outstanding Performance by a Male Actor in a TV Movie or Miniseries |
Nominated |
2013 | August: Osage County | Outstanding Performance by a Cast in a Motion Picture |
Nominated |
Tokyo International Film Festival Awards
Year |
Nominated work |
Category |
Result |
1993 | Silent Tongue | Grand Prix |
Nominated |
Tony Awards
Year |
Nominated work |
Category |
Result |
1996 | Buried Child | Best Play |
Nominated |
2000 | True West |
Nominated |
Washington D.C. Area Film Critics Association Awards
Year |
Nominated work |
Category |
Result |
2013 | August: Osage County | Best Acting Ensemble |
Nominated |
Western Heritage Awards
Year |
Nominated work |
Category |
Result |
2000 | Purgatory | Bronze Wrangler for TV Feature Film |
Won |
Sam Shepard Net Worth
He had a net worth of $10 million.
Sam Shepard Images | Sam Shepard Photos
Sam Shepard Quotes
- To sit on a ranch horse that’s been broken in, it’s like getting in a Porsche.
- 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.
- In real life, we don’t know what’s going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next – if you can find places to have that happen onstage, it can resonate with an experience of living.
- I’m a great believer in chaos. I don’t believe that you start with a formula and then you fulfill the formula. Chaos is a much better instigator because we live in chaos – we don’t live in a rigorous form.
- When I just sit around my house and work, I can work two, three hours, and then I go off and ride a horse or do something that I perceive to be a lot more fun.
- Writing for the theatre is so different from writing for anything else. Because what you write is eventually going to be spoken. That’s why I think so many really powerful novelists can’t write a play – because they don’t understand that it’s spoken – that it hits the air. They don’t get that.
Read more at brainyquote.com
Sam Shepard Movies
Sam Shepard Twitter
Rest In Peace Sam Shepard.
— Mark Ruffalo (@MarkRuffalo) August 1, 2017
Sam Shepard Facebook
Sam Shepard Interview
THE WEIRD STENOGRAPHER: SAM SHEPARD ON HIS LONG WRITING LIFE
Sam Shepard, the Pulitzer Prize-winning playwright, actor, and American avant-garde icon died Thursday at his home in Kentucky from complications from Lou Gehrig’s disease. He was 73. He often spoke of writing as his “salvation,” and if his prolific catalog of work is to be believed, he sought that salvation constantly—and in turn, brought it to others with his moving, often surreal works of outcast art. Though famously hesitant to give interviews, he has, over the years, spoken in a number of places about his writing practice, the books he loved and authors who changed him, the life of the writer, and his relationship with literary inspiration. Here, I’ve collected some of his wisest and funniest words on the craft.
On what made him want to become a writer:
Oddly enough, it was reading Eugene O’Neill. I’d read Long Day’s Journey Into Night [1956], and I remember seeing Sidney Lumet’s black-and-white film adaptation [released in 1962], which I still think is one of the best adaptations of anything—of a book, of a play—ever done. . . But I remember being struck by the idea that it was a play, so I read the play and I read about O’Neill, and in an odd way, there was something that I connected with there . . . There was something wrong with the family. There was a demonic thing going on that nobody could put their finger on, but everybody knew the ship was sinking. Everybody was going down, and nobody knew why or how, and they were all taking desperate measures to stay afloat. So I thought there was something about that felt similar to my own background, and I felt I could maybe write some version of that. (from an interview with Michael Almereyda in Interview, 2011)
On the very first thing he ever wrote:
I remember that when I was a kid, I wrote a story about a Coke bottle. You know that in the old days Coke bottles had the name of the city where they were manufactured inscribed on the bottom–St Paul, Dubuque, wherever. So I wrote this story about this bottle and its travels. It would get filled up in one town, someone would drink it and throw it out the window, and then it would get on a truck and go somewhere else. (from an interview in Rolling Stone, 1986)
On finding his voice:
I’ve heard writers talk about ‘discovering a voice,’ but for me, that wasn’t a problem. There were so many voices that I didn’t know where to start. It was splendid, really; I felt kind of like a weird stenographer. I don’t mean to make it sound like a hallucination, but there were definitely things there, and I was just putting them down. I was fascinated by how they structured themselves, and it seemed like the natural place to do it was on a stage. A lot of the time when writers talk about their voice they’re talking about a narrative voice. For some reason, my attempts at narrative turned out really weird. I didn’t have that kind of voice, but I had a lot of other ones, so I thought, Well, I’ll follow those. (from The Paris Review‘s The Art of Theater interview, 1997)
On writing like a rock star:
First off let me tell you that I don’t want to be a playwright. I want to be a rock and roll star. I want that understood right off. I got into writing plays because I had nothing else to do. So I started writing to keep from going off the deep end. That was back in ’64. Writing has become a habit. I like to model and dance and fuck a lot. Writing is neat because you do it on a very physical level. Just like rock and roll. A lot of people think playwrights are some special brand of intellectual fruit cake with special answers to special problems that confront the world at large. I think that’s a crock of shit. When you write a play you work out like a musician on a piece of music. You find all the rhythms and the melody and the harmonies and take them as they come. So much for theory. (from a 1971 biographical program note)
On the freedom of being a writer:
I feel very lucky and privileged to be a writer. I feel lucky in the sense that I can branch out into prose and tell different kinds of stories and stuff. But being a writer is so great because you’re literally not dependent on anybody. Whereas, as an actor, you have to audition or wait for somebody else to make a decision about how to use you, with writing, you can do it anywhere, anytime you want. You don’t have to ask permission. (from an interview with Michael Almereyda in Interview, 2011)
On writing his first novel:
After six book collections, basically, I thought, ‘God, wouldn’t it be so great to be able to sustain something?… I don’t know how to explain it. I really don’t. Hopefully, it’s a novel, but I have the hardest time sustaining prose. 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? I’ve been working on this for 10 years!” (from an interview in The Guardian, 2014)
On writing prose vs. writing plays:
You know, writing for the theatre is so different from writing for anything else. Because what you write is eventually going to be spoken. That’s why I think so many really powerful novelists can’t write a play—because they don’t understand that it’s spoken, that it hits the air. They don’t get that. . . But of course, I have the opposite problem. . . I can hear the language, I can hear it spoken out loud. But when it comes into the head I have a much harder time. (from an interview in The Guardian, 2014)
On the problem with American writers:
The thing about American writers is that as a group they get stuck in the same idea: that we’re a continent and the world falls away after us. And it’s just nonsense. . . We’re on our way out . . . Anybody that doesn’t realize that is looking like it’s Christmas or something. We’re on our way out, as a culture. America doesn’t make anything anymore! The Chinese make it! Detroit’s a great example. All of those cities that used to be something. If you go to a truck stop in Sallisaw, Oklahoma, you’ll probably see the face of America. How desperate we are. Really desperate. Just raw. (from an interview in The Guardian, 2014)
On Amiri Baraka and the state of experimental theater in the ’60s:
[T]heater seemed so far behind the other art forms, like jazz or Abstract Expressionism in painting or what they called “happenings” and the other kinds of experimentations that were taking place at that time. The theater still seemed to have this stilted, old-fashioned quality about it. So I couldn’t quite understand why theater, as a form, was spinning its wheels and not really going anywhere. Writers like LeRoi Jones . . . What’s his name now? Amiri Baraka . . . But back then he was LeRoi Jones, and he wrote some brilliant plays like The Toilet [1964] and Slave Ship [1969]. I think he was the most brilliant playwright of his era. And yet he was being overlooked as well. I don’t know what it was . . . It’s hard to say that it was because of the racial stuff . . . I thought his plays were far and away above anything else that was going on, even though there were other people struggling to do that sort of experimental work. . . I got to know LeRoi Jones, or Amiri Baraka, a little bit, and he was always sort of wary of me . . . But I thought he was a brilliant fucking writer—in prose and poetry as well. He’s overlooked in the scheme of things. He was angry . . . He was pissed. When I first met him, he was running around with an attaché case and a raincoat and was sort of neatly coifed and stuff. Then all of a sudden, he transformed into this revolutionary. (from an interview with Michael Almereyda in Interview, 2011)
On Roberto Bolaño and (not) belonging to a “brotherhood of writing”:
What I like most about Bolaño is his courage. . . In terms of what he’s writing about, how he’s doing it, and then, of course, the background of it all is that, at a certain point, he realized that he was terminally ill. He had this liver disease and, evidently, he was waiting for a transplant that came too late. But he never indulged in self-pity. I think there’s only one piece I’ve ever read about his illness directly. But it’s always in the background and, posthumously, we now understand that he was writing all this stuff while he was dying without indulging in that as a subject. . . I think Bolaño had a generosity about him that was unique. He seemed to include so many people in the circle of his adventures, whereas I felt like I was pretty selfish. When you get right down to it, I was only interested in these plays. And, of course, I did have some friends, but I don’t think I was as generous as Bolaño in his depiction of the people who influenced him and who he hung out with. I was never a part of any kind of literary club. I didn’t belong to any sort of brotherhood of writing, which Bolaño was always referring to. (from an interview with Michael Almereyda in Interview, 2011)
On Samuel Beckett:
He’s meant everything to me. He’s the first playwright—or the first writer, really—who just shocked me. It was like I didn’t know what kind of writing was possible. Similar to the experience of reading [Arthur] Rimbaud, it was like, “Where the fuck did he come up with this?” Of course, with Beckett, you can say it was [James] Joyce because he’d worked for Joyce, but it was more than that. His trilogy of novels Molloy [1951], Malone Dies [1951], and The Unnamable [1953] are essentially monologues, and to see how he moved from those to plays . . . It was an absolutely seamless evolution. To me, with Waiting for Godot [1953], Endgame [1957], Krapp’s Last Tape [1958], and Happy Days [1961], he just gets better and better until he has just honed this thing. .I suppose it was the form more than anything else that I was obsessed with, because I felt like the form of theater at the time was so retrograde. That’s what Joe Chaikin [the theater director] was after—this theme of naturalism that was so present was so old-fashioned and backward and unexpressive of the times. Theater needed a brave new kind of expression, and Beckett had invented a brand new form. (from an interview with Michael Almereyda in Interview, 2011)
On William Shakespeare:
I think there’s a big mystery about Shakespeare, but it’s too late to confirm it. I mean, look at the plays, the way they suddenly shift gears – from the earlier period to those later tragedies. Something happened that nobody knows about. I think he was involved in something deeply mysterious and esoteric, and at the time they had to keep it under wraps. There’s an awful lot of amazing insight in his plays that doesn’t come from an ordinary mind. And there was a tremendous monastic movement at that time. Who knows what he was into? (from an interview in Rolling Stone, 1986)
On his writing schedule:
When something kicks in, I devote everything to it and write constantly until it’s finished. But to sit down every day and say, I’m going to write, come hell or high water—no, I could never do that. . . There are certain attitudes that shut everything down. It’s very easy, for example, to get a bad attitude from a movie. I mean you’re trapped in a trailer, people are pounding on the door, asking if you’re ready, and at the same time you’re trying to write. . . . Film locations are a great opportunity to write. I don’t work on plays while I’m shooting a movie, but I’ve done short stories and a couple of novels. (from The Paris Review‘s The Art of Theater interview, 1997)
On the impact of drinking on his writing:
I didn’t feel like one inspired the other, or vice versa. I certainly never saw booze or drugs as a partner to writing. That was just the way my life was tending, you know, and the writing was something I did when I was relatively straight. I never wrote on drugs or the bourbon. (from The Paris Review‘s The Art of Theater interview, 1997)
On the era when he didn’t rewrite:
Yes, when I was young and dumb, you know. Nineteen or twenty or something like that. I thought rewriting was against the law. (from an interview with GQ, 2012)
On why he won’t explain his own art:
[A]s soon as you start talking about your art and examining it and analyzing it, you kill it. You absolutely kill it. So I’m not going to do that. I’m not interested in putting it to death, you know? Once everyone is through, they’ll go, “Oh, now I get it.” They discard it. They throw it away. So long as they continue to question it, and so long as it continues to put them in the unknown and in the questioning mood, I think it has value. When they all of a sudden say, “Oh, I get it, I understand it, that’s what it’s all about,” you’re dead as an artist. Don’t you think? That’s why I will never write a memoir. (from an interview with GQ, 2012)
On waiting for inspiration to strike:
You wait, but you don’t wait too long, and then you pounce and sit right in the middle of it. I’m working on a monologue now. At the very beginning, I thought, oh, if I wait a couple of days maybe more material will come. But I didn’t, and I’m glad. More material would have come, but I wouldn’t have written it down. (from an interview with The New York Times, 2016)
On the balance between craft and inspiration:
I don’t think you can have too much craft. Maybe you can’t have enough. It’s a funny balance between what we like to call inspiration and what we like to call work. And you can’t do without either one. If you hang around and wait for something to hit you in the head, you’re not going to write anything. You’ve got to work. You want to work for something. And these experiences, or accidents, can happen anytime. rough the back door.
For instance, I’ve been working on these stories, fiction, for some time, journals and whatnot, and I’ll be writing a while and take a look at something, and BOOM! there’s a play that’s developing while I’m working on short fiction, and I can’t write it at that moment. I’ll think about all this time I’ve been spending working on this goddamn book, and then, what’s justified? (from an audience Q&A at the Cherry Lane Theater, 2006)
On how to tell when something is finished:
You write things in different states of mind. After a long day of writing, once you sleep on a story, that next morning isn’t the same as when you were engaged the previous night. You look at it later and realize it isn’t at all how you imagined it to be. So when you write a play ten years ago and then come back to it, you’re a different person. So I think, Why not rewrite it in that new light… The play has a rhythm. You gotta listen to it. You’ll know. (from an audience Q&A at the Cherry Lane Theater, 2006)
On endings:
I hate endings. Just detest them. Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. . . The temptation towards resolution, towards wrapping up the package, seems to be a terrible trap. Why not be more honest at the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius. Somebody told me once that fugue means to flee so that Bach’s melody lines are like he’s running away. . . To me, there’s something false about an ending. I mean, because of the nature of a play, you have to end it. People have to go home. (from The Paris Review‘s The Art of Theater interview, 1997).
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