A Quote by Taylor Sheridan

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.
You know, people get frustrated because their loved ones who have Alzheimer's, oh, he doesn't recognize me anymore, how can I recognize this person, if they don't recognize me? They're not the same person. Well, they are the same person, but they've got a brain disease. And it's not their fault they've got this disease.
I don't engage in self-censorship. But I do change everybody to have red hair in the last draft. ... If you give people red hair when in real life they haven't got red hair, I've noticed they don't recognize themselves, anyway.
People do notice me - I'm always so surprised. When I dyed my hair blond for 'Suburgatory,' people would still recognize me from 'The Last Song,' when I had red hair, and I didn't even recognize myself.
Even when you're casting, casting is always one of the weirdest subjective areas. You can get a group of people who would decide and say, "This person is a great actor and this person is less than a great actor," but there will always be somebody else who likes that person better than you based on their experience in their other films.
I never teach until I've spoken to the fighter. I have to first determine his emotional state, get his background, to find out what I have to do, how many layers I have to keep peeling off so that I get to the core of the person so that he can recognize, as well as I, what is there.
To see, to hear, means nothing. To recognize (or not to recognize) means everything. Between what I do recognize and what I do not recognize there stands myself. And what I do not recognize I shall continue not to recognize.
Before 'Deadpool,' if I was walking on the street, some people would recognize for some project, and another person for a different project. But now, every time I'm walking down the street, people recognize me as the actor from 'Deadpool.'
The biggest compliment I can ever get as an actor is to have someone say, 'We didn't recognize you.'
The good man does not grieve that other people do not recognize his merits. His only anxiety is lest he should fail to recognize theirs.
I sort of recognize it, as opposed to shaping it. Oh, that's a good idea, that's a good line. I wonder where I can use that. And when you get into a rhyme group like 'not,' you got a lot of rhymes, you got a lot of choices. The more you do it, the luckier you get.
When you recognize good writing and you're lucky enough to get it, like with Lost, that's what I follow.
I always wanted to be a character actor. I love watching movies where you don't recognize someone because they're so lost in the part.
Other than the obvious, like Cher and Diana Ross, I actually find a lot of inspiration from time periods. So it's not necessarily people, it's the essence of the time period, whether it be the '90s or the '70s or the '40s. The specific time and what vibe it gave you, what the emotion of that time was, and trying to get that emotion again.
I don't recognize hate, I don't recognize bitterness, I don't recognize jealousy, I don't recognize greed. I don't give them power. They don't exist to me.
One can lose a good idea by not writing it down, yet by losing it one can have it: it nourishes other asides it knows nothing of, would not recognize itself in, yet when the negotiations are terminated, speaks in the acts of that progenitor, and does recognize itself, is grateful for not having done so earlier.
There are so many issues that this country [the U.S.] has, and that the world faces, that it's important that we sit down and recognize our commonality. When we do that, we can actually work together to overcome some of the problems that we have. That, to me, is just a good starting place.
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