How to Get Cast in a Taylor Sheridan Production

While Sheridan has written numerous successful films, such as “Sicario” (2015), “Hell or High Water” (2016), and “Wind River” (2017), he’s created some of the most influential shows on TV today:

• “Yellowstone”
• “1883”
• “1923”
• “Mayor of Kingstown”
• “Tulsa King”
• “Lioness”

Sheridan also executive produced the 2023 miniseries “Lawmen: Bass Reeves,” which follows the first Black U.S. Marshal.

He has other projects in the works, as well. Inspired by the 12-part podcast “Boomtown” from Texas Monthly’s Christian Wallace, “Landman” will explore the world of oil rigging. The Paramount+ series debuts Nov. 17 and boasts a star-studded cast, including Billy Bob Thornton, Ali Larter, Jon Hamm, and Demi Moore.

Though “Landman” doesn’t appear to be a spinoff of “Yellowstone,” Sheridan’s upcoming series “The Madison” (formerly titled “2024”) will serve as a sequel in the Dutton family’s saga. “The Madison” will star Michelle Pfeiffer, Beau Garrett, Patrick J. Adams, Elle Chapman, Amiah Miller, and Matthew Fox. Another “Yellowstone” spinoff in the works is “6666,” which will take place on the historic Four Sixes Ranch in Texas.

Sheridan is also in pre-production on a new feature film titled “Fast,” which follows a former U.S. Special Forces officer who’s tasked to take down drug dealers protected by the CIA. And he’s teaming up with country music star Blake Shelton for a new singing competition show called “The Road.” The new series is coming to CBS in 2025.

Meredith Tucker (“The White Lotus”) and Wendy O’Brien (“Abbott Elementary”) cast “Tulsa King” starring Stallone, while Erica Berger, Cathy Sandrich Gelfond, and the late Amanda Mackey (“Love & Death”) cast “Mayor of Kingstown” starring Renner. 

However, John Papsidera, Christopher Nolan’s go-to CD, has also become a favorite of Sheridan’s, having served as the primary CD on “Yellowstone” and its spinoffs, “1883” and “1923,” as well as “Lioness.”

As Papsidera told Backstage, he aims to create a welcoming atmosphere that encourages vulnerability. “I hope [actors] feel like they have a space and a moment to share a bit of their soul,” he said. “I think that is what my job is. Everybody who works with me tries to create a space where that can happen. We really respect actors, and we want them to be able to feel like, when they walk into the audition room, they have the freedom to do the best work they can.” 

Similarly, O’Brien told us, “It’s a very safe space to try something, to explore, to be yourself.” She added, “That’s our number one goal of what we try and provide. I think it’s important to help [actors] come in, be comfortable, and do the best work they can. It’s also self-serving. The better they do, the sooner we’re going to find the role.”

When it comes to the constant stream of A-list talent funneling through Sheridan’s productions, the multihyphenate has a hand in recruiting who he’s envisioned in each role. For example, with “1923,” Sheridan flew both Harrison Ford and Helen Mirren—his top picks for the leads—to his ranch to discuss the opportunity. Sheridan told Deadline, “[Ford] flew down. I said, ‘We’re going to do this thing together.’ He goes, ‘Can I read a script?’ I said, ‘You can when it’s written, but it ain’t written yet, and you got to commit to it now. I need to know who I’m writing for. I’m done wondering who I’m writing for and I have to go try to chase the person I had in my mind and I can’t get the person because they’re doing some fucking Netflix show. I don’t do that shit anymore.’ ”

He continued, “ ‘So, are you going to do it or are you going to watch Chris Cooper do the next great thing? What do you want to do?’ I poured about two bottles of wine down him. He said yes. I got him on the plane as fast as I could, closed the deal, and said, ‘Send me the next one.’ Then came Helen, and same thing: ‘Have a glass of wine.’ ”

But Sheridan also likes to balance big names with unknowns, giving hope to aspiring actors. “I’ve got people in here that are anchors of this series. The others, it’s such a blank slate for an audience,” he noted. “They don’t know this person. They don’t have any preconceived: I saw them in ‘Saved by the Bell,’ or I saw them on this or I saw them on that. To them, the character and the face are the same thing. You don’t have to get something off your palate so to speak.”

Sheridan went in a different direction when he cast himself on “Yellowstone.” As the owner of two ranches in Texas, Sheridan has horses and taught his actors how to ride. As he told “CBS Sunday Morning,” “All the horses, for the most part, in our business are terrible. They’re not very broke, they’re not very safe—which is one of the reasons you don’t see actors on them very often. I didn’t want to do that. So I bought all the horses for the show and then taught the actors how to ride.” And since he was essentially the series’ horse trainer, he cast himself as—you guessed it—horse trainer Travis Wheatley. After all, every project requires its own unique approach and solutions.

As Papsidera told us, the casting process differs from project to project. “It’s so specific to each project you do, whether you’re trying to sell the director or the writer and get talent interested in them, or whether you have a well-known writer or director and then you’re trying to sell the roles and how they play a part in it.” But convincing actors to accept said roles is an entirely different beast. “On a television show, you’re asking people to sign on for seven years of their life sometimes,” he explained. “Those are all different skills you have to perfect to try and then get people into your project. It takes all different kinds of convincing and campaigning and passion and fight to make that happen.

“Yes, casting is casting and actors I like today are actors I will respect and like 10 years from now, but how I apply that to each project is very different in how I do it,” he added. “Different jobs require different tools. It’s no different than a lot of professions.”

“Yellowstone” held its last open casting call for extras in August 2024, but we know Sheridan always has multiple irons in the fire at any given time. While his team does not appear to be casting any roles at the moment, several notices have been floating around the internet regarding the newest additions to Sheridan’s oeuvre. In May 2024, Brock/Allen Casting shared a notice seeking background actors to play crime scene techs on “Landman,” along with a number of additional opportunities to join the Texas-based series. Legacy Casting also posted a notice in December 2023 looking for oil and gas workers with field experience willing to serve as extras on a rig.

It’s also likely that we will see casting notices for Season 2 of “1923” soon. The “Yellowstone” spinoff is slated to begin filming later this year.

As you await your chance to wow Sheridan’s team, we also recommend bookmarking our main casting page, which includes the most recent calls available. 

As Sheridan told us, “I would rather watch somebody fall on their ass in the audition than play it safe.” But what else does it take to excel at an audition for Sheridan?

Put yourself out there. While Tucker knows it’s “hard to get your foot in the door,” using the channels you have readily available allows you to create your own opportunities as you show off your talent in your own time. “If you aren’t getting those jobs, I think writing stuff for yourself or working with friends to make your own product is always a great way to keep yourself busy and to have something to show people,” she told us. “It’s a great way just to get to act and write and produce and be a part of something. I think that’s the exciting thing now—that it’s so easy to do stuff like that. People should definitely take advantage of it. 

“But also, sending your self-submissions is always great, keeping your eyes open for nonunion stuff on Backstage,” she added. “Always keep your eyes open for stuff like that and be willing just to get experience on a set. Also, if you have the opportunity to see other aspects of the casting process—we’ve had interns who have ultimately wanted to be actors, but it’s kind of great to see how the whole process works. Take advantage of stuff like that. Some people need readers. It gives the actor a really great insight into the whole casting process”.

Go with the flow. Oscar winner Nicole Kidman (Kaitlyn Meade, “Lioness”) recognizes that actors simply cannot be control freaks—even if it’s hard to admit. “As any actor knows, so much of it is about the director when you’re working on a film, and so directors very much choose who they want in their films and who they want to play their characters. So you’re still, no matter where you’re at in your career, at the mercy of whether somebody wants [you] for a role,” she told us. “I’ve had the luxury and the ability to move into being a producer, which gives me a little more control over some of my destiny as an actor, but not all of it. And I’m still very much an actor….

“There’s times when I read things and I read scripts and I don’t get a look in—the director goes, you know, ‘No, I don’t want to work with her; I don’t think she’s right.’ So I’ve always had that trajectory of going up and down. And sometimes you’re wanted and sometimes you’re not; sometimes you audition and sometimes you don’t.”

Take any chance you get. As O’Brien told us, “You have to think: If the door’s open, it’s open. You can’t overthink it. You can’t spend energy on the unknown.” So, when an opportunity comes around, even if you think you’re not right for the role, it can’t hurt to give it your all anyway. 

“Don’t second-guess why you’re coming in. You might not think you’re right for the role. And this has happened so many times where an agent doesn’t think they’re right. I’m like, I get they’re not what’s written on the page, but trust me, and just have them come in. And I would say 50% of the time, they get the role. They’re my wild card. Just come in. Don’t worry about it. You’re the wild card. It doesn’t make sense to them. Trust me. And a lot of times it works out really well,” she said. “Do not overthink your invitation. Usually, there’s a very good reason. It’s our job to open the door, and it’s the actors’ [job] to want to walk through it. Sometimes you’re just waiting for the right role. Sometimes it takes a really long time to find that right role. But then when it happens, it’s pretty magical.”