Key Points
Yellowstone creator Taylor Sheridan said he doesn’t like how most films rely on dialogue rather than action to move a story forward.
He cited Marvel movies as an example of films that use “information dumps.”
Entertainment Weekly has reached out to Marvel.
Well, don’t expect Taylor Sheridan to go see Marvel’s Spider-Man: Brand New Day when it arrives in theaters next month.
The writer and co-creator of Yellowstone is not a fan. The topic came up Sunday on the Bill Simmons Podcast when Sheridan explained his screenwriting work.
Sheridan noted that, when he was starting out, he wanted to simply do what everyone else was not doing.
“What everyone else was doing was taking shortcuts,” Sheridan said. “Essentially, breaking all the very basic, fundamental rules of storytelling. Because they couldn’t figure out their story.”
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He added, “With a movie, you’re supposed to show me what’s happening. The camera is supposed to move the story. The dialogue is supposed to tell me how the people in this world feel about what’s happening or what they hope to do or what they wish they hadn’t done or had done. So, if you stick to that one basic rule from the beginning, never have a character tell me something that the camera could show me.”
That’s when the superhero studio entered the chat, and Sheridan wasn’t giving them a compliment.
Danny Ramirez and Anthony Mackie star in Marvel’s ‘Captain America: Brave New World’ in 2024
Credit: Eli Adé/Marvel
“All these Marvel movies do it, ad nauseam,” Sheridan said of the company behind hit franchises such as Captain America, The Avengers, and, yep, Spider-Man. “Where they will just have information dumps that you have to follow to get to the action rather than actually moving plot with action.”
Entertainment Weekly has reached out to Marvel.
In Sheridan’s view, this way of storytelling is a recent development.
“It didn’t used to be this way when Steve McQueen was a movie star at Paramount and Bobby Evans ran the studio because writers were turned loose. Directors were turned completely loose,” he said. “There weren’t endless rewrites. There weren’t meetings with executives about tone and mood and all this nonsense.”
He charged that “the studio executives and the network executives — these are marketing executives, for the most part. Or maybe they studied law or whatever. Then they came, got a job in the mailroom at CAA or WME, and hated that s—. So then they ended up as an intern at some network. Then, through attrition, they find themselves the head of development. Well, what do you know about developing story? You know nothing. So they get terrified, panicked that the audience won’t get it because they actually have no storytellers.”
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