Taylor Sheridan Quotes
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To me, 'Unforgiven' is one of the best films ever made. Aside from the fact it takes the genre and kicks it between its legs, it's this fascinating deconstruction of the myth of the West.
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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'm a big believer in,'If anyone can understand my politics, I've failed.' If you can get a sense of which side of the fence I'm on, then I'm not doing a service. I'm preaching, and that's not my job.
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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've been in some bad TV shows and suffered through so much poor writing.
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'Sicario' was successful, but it was successful because Denis and the producers were, you know, they were very lean. It was very lean filmmaking.
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I was going to be the head wrangler at a ranch in Wyoming, and the reason I didn't take the job is because I couldn't have my family there - the family had to stay in town. I just wasn't willing to do that.
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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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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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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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People in Texas wear cowboy hats; they're good at keeping the sun off your neck and face.
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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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As a television actor, I was held to a tight, rigid structure.
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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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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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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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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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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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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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I had a one-year-old son. How will my failure or success limit what he becomes? I was trying to write screenplays. It doesn't pay very well until you sell one. I was poor.
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How can you tell your kid, 'You can be anything you want to be,' if you're not trying to do the same?
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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.