Anna D. Shapiro Famous Quotes and Saying

I am a director because I believe in my own impulses and my own point of view, and that belief encourages me to tell stories that will move, provoke, and change people. But I became a director because I wanted to be a part of the world.

Anna D. Shapiro

views believe moving

Everyone has the talent to some degree: even making a peanut butter and jelly sandwich, you know whether it tastes better to you with raspberry jam or grape jelly; on chewy pumpernickel or white toast.

Anna D. Shapiro

peanut-butter degrees white

Amy Morton is a machine. If she misses a show it's because someone amputated her leg and she's looking for it.

Anna D. Shapiro

amy machines missing

Steppenwolf has always been at the center of everything in my professional life.

Anna D. Shapiro

professional everything always life

My main interest is in cultivating my company.

Anna D. Shapiro

main cultivating company interest

I consider myself a pretty good extemporaneous speaker. Even though I don't like speaking in front of people, I don't think I'm bad at it.

Anna D. Shapiro

good myself think people

I'm not sure plays tell people anything. I think plays include an audience in an experience that is happening in that moment, and that's the specialness. What people take away has almost as much to do with what they bring as what we do.

Anna D. Shapiro

think moment experience people

I just feel like, for whatever reason, female playwrights don't really ask me to do their plays. Nothing would make me happier than finding the sisterhood, but I can't make them.

Anna D. Shapiro

finding nothing feel me

What I've understood is that to be funny is not my job. To see funny is my job.

Anna D. Shapiro

job see understood funny

I think of myself as actually kind of prudish and girly, but I don't know if a lot of other people would see me that way.

Anna D. Shapiro

myself think me people

The conversation of how you do a play is my favorite conversation in the whole wide world: what a play is, why it's different than anything else, the math of the way that human behavior has to be calibrated theatrically versus anything else.

Anna D. Shapiro

you conversation way world

If you think there is anything in theater that objectively exists without your point of view attached, you are wrong.

Anna D. Shapiro

your view think you

I would love to figure out a way to be less careful and more adventurous.

Anna D. Shapiro

out more love way

So many of my friends are actors, and so many of them are great, and they're losing jobs to people who have never been in plays before; I understand that sometimes I'm part of the problem. But I'm trying to figure out how to balance it.

Anna D. Shapiro

great friends sometimes people

There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.

Anna D. Shapiro

camera you perfect people

The one thing that never changes in America is that the white straight male is born with a promise. Women are not promised very much, and we embody our disappointment from the beginning.

Anna D. Shapiro

beginning women disappointment white

Plays are about understanding what happens, what it means. If we just leaned into the story, for lack of a better word, it would still be a powerful story but, like delight, it might disappear an hour after you saw it.

Anna D. Shapiro

story better you understanding

I'm not sure I have a role model per se, but I do deeply admire every woman who raises children and has to walk for water.

Anna D. Shapiro

woman walk water children

I wish theater criticism in this country could be more of a companion piece to the experience than a warning about where not to spend your money.

Anna D. Shapiro

experience money wish country

Theater, for me, is no longer a conversation about how we destroy each other; it's much more about how we may be destroying everyone else.

Anna D. Shapiro

everyone more me conversation

Anna D. Shapiro

Professions :

Born :

I am a director because I believe in my own impulses and my own point of view, and that belief encourages me to tell stories that will move, provoke, and change people. But I became a director because I wanted to be a part of the world.

Everyone has the talent to some degree: even making a peanut butter and jelly sandwich, you know whether it tastes better to you with raspberry jam or grape jelly; on chewy pumpernickel or white toast.

Amy Morton is a machine. If she misses a show it's because someone amputated her leg and she's looking for it.

Steppenwolf has always been at the center of everything in my professional life.

My main interest is in cultivating my company.

I consider myself a pretty good extemporaneous speaker. Even though I don't like speaking in front of people, I don't think I'm bad at it.

I'm not sure plays tell people anything. I think plays include an audience in an experience that is happening in that moment, and that's the specialness. What people take away has almost as much to do with what they bring as what we do.

I just feel like, for whatever reason, female playwrights don't really ask me to do their plays. Nothing would make me happier than finding the sisterhood, but I can't make them.

What I've understood is that to be funny is not my job. To see funny is my job.

I think of myself as actually kind of prudish and girly, but I don't know if a lot of other people would see me that way.

The conversation of how you do a play is my favorite conversation in the whole wide world: what a play is, why it's different than anything else, the math of the way that human behavior has to be calibrated theatrically versus anything else.

If you think there is anything in theater that objectively exists without your point of view attached, you are wrong.

I would love to figure out a way to be less careful and more adventurous.

So many of my friends are actors, and so many of them are great, and they're losing jobs to people who have never been in plays before; I understand that sometimes I'm part of the problem. But I'm trying to figure out how to balance it.

There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.

The one thing that never changes in America is that the white straight male is born with a promise. Women are not promised very much, and we embody our disappointment from the beginning.

Plays are about understanding what happens, what it means. If we just leaned into the story, for lack of a better word, it would still be a powerful story but, like delight, it might disappear an hour after you saw it.

I'm not sure I have a role model per se, but I do deeply admire every woman who raises children and has to walk for water.

I wish theater criticism in this country could be more of a companion piece to the experience than a warning about where not to spend your money.

Theater, for me, is no longer a conversation about how we destroy each other; it's much more about how we may be destroying everyone else.

Anne Bogart

Bartlett Sher

Daniel J. Sullivan

Harold Clurman

George Ogilvie

Garry Hynes