Taylor Sheridan Quotes
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I broke a lot of conventions. Look, I spent a long time as an actor. I spent a lot of time playing pretty ordinary arcs.
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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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As a television actor, I was held to a tight, rigid structure.
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Some of the most fascinating scenes in 'Unforgiven,' for me, is that scene with Gene Hackman where he's talking about the Duke of Death that Richard Harris played, and he's basically demolishing this myth of this man very unwesternly – not what you expect in a western.
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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.
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I think I was a decent actor, but it took a lot of work for me to make a choice on how to read a line.
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I work very hard to line up stereotypes and then smash them with a hammer.
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I mean... directing is a holy, unpleasant experience, to be perfectly honest.
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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 spent most of my time as an actor in television, so directors in television - it's such a machine that's already in place that I don't think you notice the direction as much on the set.
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I look for absurdly simple plots so that I can simply focus on the characters. Having an understanding of what dialogue's easy to say and hard to say - I think that that's helpful, too.
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Part of our job as storytellers is to show people pockets of the world that they don't know. The more we understand, the more we don't judge.
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I didn't know if I could make a good movie. But I knew I could make a respectful one.
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I can recognize a good actor. I can recognize someone that can convey emotion and that has the essence and not get lost in the minutia of, 'Well, that person's got red hair, and so does the other.' Some of the decisions in casting that seem so important at the time, until you get on set and you're starting to shoot.
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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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You know that saying, 'You broke it, you bought it'? With horses, if you don't make sure it's a good fit... they tend to break you.
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You've been entrusted with a lot of money and a lot of careers, and a lot of people put their faith in me, and every director goes through that every time.
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You can really examine the suffering and consequences that happen when there's a loss in a family.
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I think film cannot only teleport you to places you don't know, but it can help you see people you thought were one way and in fact are another. They can allow us to examine ourselves.
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My wife was pregnant, and I was doing the math, and I was realizing that I couldn't be living in a two-bedroom apartment in Hollywood for the rest of my days. I didn't want to raise my kid there.
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Whether we can call 'Hell or High Water' this rogue buddy bank-heist movie, it's also a meditation on assimilation and failure and what happens when someone loses their purpose.
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It's very hard for me to go to the movies because I know all the tricks, and I know everybody. I don't watch many at all. And the ones I do watch are generally much older films.
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In 2011, I was in Hollywood peddling 'Sicario' to constant and resounding 'no's. Texas was suffering the worst drought on record. Wildfires spread across West Texas, burning some 4 million acres and 3,000 homes. While the urban centers in Texas were experiencing an economic boom, West Texas was collapsing under the weight of drought and fires.
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The movies I make - the goal isn't a mass audience. They're not expensive films. So the attempt is to reach a much more limited audience - one would say an audience that enjoys films that challenge them emotionally and intellectually.