Zitat des Tages von Taylor Sheridan:
I'm not the guy to ask to write a sequel.
Most of us don't confront pure anything. What our life does involve is a whole lot of 60/40 and 70/30.
I don't know if I've ever met anyone that's purely good or purely evil myself. I think most of us live with some varying degrees between the two.
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.
I think that marriage of music and picture is so vital, especially in a film that's almost exclusively exteriors.
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.
Unfortunately, there is still much to mine in this world and explore creatively.
I believe in the Constitution - and I believe in common sense.
One of the major issues that's constantly batted around Hollywood and the media is my industry's responsibility toward the portrayal of violence. There's the irony of the films that glorify it and the individuals taking positions against it. It's a very confusing, confounding place.
I let characters be human and flawed and relatable. When we do things that aren't that great, we can understand it.
As a filmmaker, you have to stand in front of what you did and make choices that you could do with a clear conscience.
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.
I learned a tremendous amount about dialogue because I suffered as an actor.
Bad people sometimes do good things, and good people do really bad things or do something the audience disagrees with.
I work very hard to line up stereotypes and then smash them with a hammer.
Violence is literally the glue of the cycle of life, and yet I think that we're the only species that does it maliciously.
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.
My education - my Ph.D. in storytelling - comes from having worked on it, being a lover of film and watching them, from working with some great writers and some very good TV directors and then working with some who weren't.
I was surprised by how much I liked 'Hacksaw Ridge' and its depth.
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.
The machine of awards season is very stressful. But this is the Oscars! It's your peers, your heroes, people you admire, the people who inspired you to get into this work in the first place. It's a pretty overwhelming feeling when you think about it.
How can you tell your kid, 'You can be anything you want to be,' if you're not trying to do the same?
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.
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.
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.
I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.
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.
Honest communication is a rare thing.
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.
When I write a movie, I write it for me.
I've been very fortunate with my three spec scripts - which is sort of my thematic trilogy of the American Frontier. With 'Sicario', 'Hell or High Water' and then 'Wind River' - which is the third - there were no rewrites. It was the first draft for all three.
I mean... directing is a holy, unpleasant experience, to be perfectly honest.
Growing up, my mother was a very strong woman who was not very big, about 5'1'', but boy, you grabbed a tiger by the tail if you messed with her. I know grown men that messed with her, and through her wit and intelligence and her no-quit, she never lost a fight. That's very influential on me when I'm telling stories. I love exploring that.
I watched a lot of old movies. Clint Eastwood movies, a lot of John Wayne films, a lot of movies that celebrated the region of where I lived.
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.
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.