Taylor Sheridan Quotes
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I don't outline. I sit down to write, and I take the ride. If something starts to not feel right, I go back to the last place that felt like jazz to me.
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I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'
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I've been in some bad TV shows and suffered through so much poor writing.
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Where having been an actor was extremely helpful to me was in casting. That's where I think a director who has acted can really shine, and casting is the most important thing you do.
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If you're going to make a sequel to 'Sicario', you have to - you know, you've got to go beat a brand new path.
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Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. 'Hell or High Water''s a good example: I don't tell you why the brothers are robbing the bank.
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If you want to get an email to Robert Redford, you send it to his assistant, and she prints it out. And then he will write you a letter, which is incredibly rare and incredibly classy. Unfortunately, I can't be that removed from technology.
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People in Texas wear cowboy hats; they're good at keeping the sun off your neck and face.
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As a television actor, I was held to a tight, rigid structure.
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I made a very conscious decision to quit acting. I was on a series, and we were in the process of renegotiating. They had an idea of what they thought I was worth, and I had an idea that was quite different.
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I just lost interest in performing.
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Josh Brolin is fascinating to watch because he is just so effortless. It's like watching a really gifted athlete run, and I just didn't have that.
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I wanted 'Hell or High Water' to feel like a road movie and an exciting, fun film - until it's not.
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I spent a lot of time doing really unimportant work as an actor. It was important when I started writing that I obviously make it entertaining, or no one is going to go see it - but to really make you think, that is my goal.
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I work very hard to line up stereotypes and then smash them with a hammer.
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I thought of Jeff Bridges in 'Hell or High Water' and Ben Foster, and I kept trying very hard not to, because you're terrified you're going to write this thing that then feeds specifically to this one person that then won't do it.
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With 'Wind River,' I became fascinated with the notion of how you overcome a tragedy - accepting it, making whatever peace you can with it - without ever knowing what really happened.
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I've been fortunate to work with partners like Weinstein and John and Art Linson in developing 'Yellowstone' and am grateful that it has found a home in the Paramount Network. The show is both timely and timeless.
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How does one endure in a place they shouldn't be condemned to live in? You could take that same question and apply it to any number of neighborhoods in any number of cities.
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I love to play with the notion of who the protagonist is - who is the audience supposed to root for? I did it in 'Sicario' and feel it was the strength of the script - guiding the audience's allegiance toward the villain because they think he's the hero, until it's revealed that he's the villain.
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I'm not the guy to ask to write a sequel.
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Bad people sometimes do good things, and good people do really bad things or do something the audience disagrees with.
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I think that marriage of music and picture is so vital, especially in a film that's almost exclusively exteriors.
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To get a film in Cannes is a real honor. To have it play and not get booed is a real relief.