American - Actor | May 21, 1970 -
As a filmmaker, you have to stand in front of what you did and make choices that you could do with a clear conscience.
Taylor Sheridan
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Most of us don't confront pure anything. What our life does involve is a whole lot of 60/40 and 70/30.
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I mean... directing is a holy, unpleasant experience, to be perfectly honest.
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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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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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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.
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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.
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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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Honest communication is a rare thing.
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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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You can really examine the suffering and consequences that happen when there's a loss in a family.
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I had three attorneys dedicated solely to find the statistic of the number of missing Native American women on reservations. Any reservation, not just 'Wind River.' They don't exist. The federal government, which is responsible for the reservations, don't keep those stats.
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