A Quote by Taylor Sheridan
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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You know, this dialogue is only helpful when we come, both of us, to a point where we realize that no dialogue is possible, that no dialogue is necessary. When I say understanding or seeing, they mean something different to me. Understanding is a state of being where the question isn't there any more. There is nothing there that says, "Now I understand!" That's the basic difficulty between us. By understanding what I am saying, you are not going to get anywhere.
You should let dialogue get as nearly out of control as you can. Characters should say what they say to each other instead of what they mean to say. The worst purpose of dialogue is to elicit information: "You know why we're out on this space station, Carruthers - to save the universe!"
It's easy to look at South Central and say, 'That's a bad place,' and it's easy to look at Beverly Hills and say, 'It will be a cakewalk,' but it just exposed me to a different set of problems. Both sides relate to each other more than they think.
If you can look at somebody and say, 'I never loved you, you were a mistake,' that's one thing. But if you look at him and say, 'You were everything and I poisoned it because I wouldn't stand up for myself,' that's hard. That's too hard.
What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.
When you look at the accomplishments of accomplished people and you say, “Boy, that must have been really hard,” ... that was probably easy. And conversely, when you look at something that looks easy, that was probably hard. And so you’re never going to know which is which until you actually go and do it.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
After writing a novel, what is there to say? If a novelist could say it in a maxim, they wouldn't need 120,000 words, several years and sundry characters, plots and subplots, and so on. I'd much rather listen always.
The best players I've coached make really hard things look easy. Like you may say, well, that was easy, and then, well, go try it. You think it's so easy, go ahead and do it.
If we say a little it is easy to add, but having said too much it is hard to withdraw and never can it be done so quickly as to hinder the harm of our success.
It's very easy for me to say what success is. I think success is connecting with an audience who understands you and having a dialogue with them. I think success is continuing to push yourself forward creatively and not sort of becoming a caricature of yourself.
When you're with your wife, you don't say I love you to your wife every day but the ways you look at her and your actions are another way to communicate. Don't focus on dialogue, only focus on what you're expressing.
If I'm within reach and can be helpful, I have a tendency to say 'Yes.' It's hard to say 'No.'
If I'm within reach and can be helpful, I have a tendency to say 'Yes.' It's hard to say 'No.
There is a simple fix to our excessive meeting culture, but it is not easy to implement. It's one of these things that are easy to say but hard to do. The fix is: abandon all recurring meetings. I am serious. All!
With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue... I think expositional dialogue is quite crass and not like real life.
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