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Speaker 1: Hey, y'all, thank you so much for tuning back into

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Speaker 1: the Official Yellowstone Podcast presented by The Win, Las Vegas.

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Speaker 1: I'm back in the studio here at the Win, and

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Speaker 1: like I said last time, they're gonna have a hard

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Speaker 1: time getting rid of me. They're spoiling me, and that

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Speaker 1: is a mistake because I'm never gonna go home. So

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Speaker 1: thank you guys all for tuning in last week. The

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Speaker 1: feedback was incredible. Thank you so so much for your comments.

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Speaker 1: Thank you for rating the show, thanks for telling your friends,

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Speaker 1: thanks for posting about it on social media. All of

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Speaker 1: that really means the world to us, and it means

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Speaker 1: we get to keep doing this. So I'm very, very

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Speaker 1: grateful to you. For those of you that are new,

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Speaker 1: thank you for joining us on this journey. We've got

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Speaker 1: a lot in store for you. I know you guys

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Speaker 1: have heard enough from me. Let's skip right to it.

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Speaker 1: Let's hear from Beth and Rip. That's Kelly Riley and Colehauser.

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Speaker 1: We're gonna step aside for a minute, and when we

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Speaker 1: come back, we're going to dive into my favorite love

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Speaker 1: story on TV. I feel incredibly lucky, honored today to

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Speaker 1: be joined in the Studio by Colhauser, Rip and Kelly Riley. Beth.

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Speaker 1: We've got both Beth and Rip here today. It was

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Speaker 1: just an incredible gift that I feel so so lucky.

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Speaker 1: It's an embarrassment of riches. Thank you guys so much

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Speaker 1: for being here today.

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Speaker 2: Pleasure you got it.

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Speaker 1: The show, Yellstone, incredibly dark, show, incredibly violent. Both of

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Speaker 1: your characters are characters that are often inflict tremendous harm,

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Speaker 1: inflict tremendous violence. But then also the relationship between the

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Speaker 1: two of them is some of the sweetest, loveliest stuff

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Speaker 1: on the exact opposite end of the spectrum. So before

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Speaker 1: we jump in, will you just talk a little bit

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Speaker 1: about your lives, sort of just talk a little bit

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Speaker 1: about your experience of stepping into that first extreme, the

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Speaker 1: hard stuff, the violence, the dark stuff. Talk a little

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Speaker 1: bit about your experience embodying these two characters who are

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Speaker 1: individually forces of nature each Beth and Rip are both

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Speaker 1: sort of, you know, soldiers to a certain extent, who

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Speaker 1: are asked to do incredibly difficult things. We just talk

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Speaker 1: about that a little bit.

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Speaker 2: Well, they're both survivors obviously very different circumstances. I mean,

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Speaker 2: the darkness is intense. This is not Disney, and I

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Speaker 2: think that without that level of violence and there's sort

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Speaker 2: of the killer nature that they have, it would it

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Speaker 2: wouldn't be Yellowstone, right, because we all have to have

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Speaker 2: that drive to survive. It's like we're all that primal

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Speaker 2: wild animal thing, which I love that. I mean, I

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Speaker 2: think Beth takes it to another less and then that's all.

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Speaker 2: But without those moments that you said of the humanity

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Speaker 2: and the vulnerability and the opening of the heart a

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Speaker 2: little bit with each other, like it doesn't it can't

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Speaker 2: just be that the dark stuff. You need to have

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Speaker 2: the balance of those two and so they become a

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Speaker 2: holding place for each other to be able to be

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Speaker 2: that and live that and experience it, and they allow

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Speaker 2: each other to have it, you know. Not season one.

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Speaker 2: Season one, it was just a lot of history. But

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Speaker 2: then when I think Best allowed herself to really know

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Speaker 2: that she she always knew she was in love with him,

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Speaker 2: but to sort of claim it, I think that, well,

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Speaker 2: that meant everything, and it meant everything was worth fighting for.

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Speaker 2: The most romantic moment, sorry I'm speaking too much, was

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Speaker 2: after in episode I can't remember what episode was, but

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Speaker 2: the back brother brutal you know where he tells me

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Speaker 2: he loves me. I mean, after the most brutal attack

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Speaker 2: is the most meaningful moment. Yeah, she says to him,

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Speaker 2: don't say it until it say it's going to save

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Speaker 2: me till it means something, right, No, it till it

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Speaker 2: saves me.

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Speaker 3: Yeah, I mean, going back to your initiate question, I

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Speaker 3: think that for me.

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Speaker 4: It might sound a little odd, but but I think

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Speaker 4: Rip actually is very comfortable in the darkness, you know.

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Speaker 4: I think that's to him, it's not a very big deal.

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Speaker 4: I think what he struggles with is being able to

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Speaker 4: be vulnerable and understand that. And what I feel like

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Speaker 4: Taylor has done a great job and Kelly's allowed me to,

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Speaker 4: you know, as an actor to kind of find the

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Speaker 4: steps as the character to do it over time, is

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Speaker 4: is be able to show that other side, that his

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Speaker 4: heart isn't just black, you know, there is some red

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Speaker 4: left in it, you know, And I think that's been

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Speaker 4: kind of for the first time in a long time

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Speaker 4: for me as an actor to be able to discover that.

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Speaker 4: So I feel like with Rip, it started, you know,

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Speaker 4: with obviously that very first scene with you and I,

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Speaker 4: you know, where he was very comfortable burning you and

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Speaker 4: you know, talking to you, it didn't It was almost

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Speaker 4: like he was eating eggs in the morning. It just

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Speaker 4: didn't matter to him, you know, and then being able

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Speaker 4: to find love and passion and something that he's never

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Speaker 4: had in his life, you know, for the forty years

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Speaker 4: that he's been on the on the planet.

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Speaker 2: So you don't think they had it like when they're

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Speaker 2: because we get to see the flashbacks, right, so we

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Speaker 2: realized that they were, Yeah, they were each other. For me,

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Speaker 2: it was so important to know that backstory that they

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Speaker 2: were each other's first love and obviously so much more

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Speaker 2: like that, you know, the fact that that that doesn't

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Speaker 2: surprise me all that that stays with Beth as forever

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Speaker 2: because she's so and she loves it's like, you know,

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Speaker 2: look out. And so I think that I think for

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Speaker 2: years she was probably coming back from her life wherever

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Speaker 2: it was, destroying businesses, carving them up. She would come

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Speaker 2: back for Thanksgiving or whatever it was, and they'd probably

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Speaker 2: hook up and she'd leave them in the dust, but

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Speaker 2: not allowing that level of intimacy, that of love because

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Speaker 2: it was you know, I think it was probably too

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Speaker 2: terrifying for her and.

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Speaker 1: Also maybe perhaps out of a sense of duty, right,

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Speaker 1: because they were both asked, they both were shaped by

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Speaker 1: incredible difficulty and sort of asked to a certain extent

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Speaker 1: to make themselves into these killers, right for the sake

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Speaker 1: of the ranch, for the sake of Beth's father, Rip's boss.

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Speaker 1: They were asked to be these forces of darkness to

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Speaker 1: a certain extent, and out of a sense of duty.

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Speaker 1: I always, and it's fascinating to hear you guys talk

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Speaker 1: about this. I always, to a certain extent, imagine that

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Speaker 1: their their duty kept them part, this sense of responsibility

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Speaker 1: to something greater than themselves. It seems like for both

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Speaker 1: of them, John Dutton was a little bit they're only

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Speaker 1: kind of light in a tremendously difficult life, lifes that

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Speaker 1: were shaped by loss. Right, Both of their lives were

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Speaker 1: shaped sort of fundamentally by loss. Lost his whole family

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Speaker 1: at a very young age, and John Dutton was his

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Speaker 1: only savior. Yeah, and the same for Beth, Beth losing

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Speaker 1: her mother at that young age and then her relationship

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Speaker 1: with Jamie and how obviously sort of painful and difficult

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Speaker 1: that is.

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Speaker 2: So I have a different perspective of that, which is

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Speaker 2: different because I actually think Beth is trying to make

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Speaker 2: up for something I don't know if I'm right.

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Speaker 1: Opinion is actually the only one.

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Speaker 2: I don't know if it does. But there's another opinion

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Speaker 2: that matters more than mine. But because what you said

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Speaker 2: that she lost her mother, I think Beth absolutely is

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Speaker 2: feels deeply responsible for that, for the death of her

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Speaker 2: own mother. Because of the accident on the horse, Beth

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Speaker 2: was afraid of horses as a young girl. Not a

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Speaker 2: great place to live if you're afraid of horses. So weakness,

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Speaker 2: to her is something that she's cut out because her weakness,

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Speaker 2: her fear, which is really tender for me, is I

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Speaker 2: think about her as a girl caused not only for

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Speaker 2: her to lose her mother, but it also caused her father,

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Speaker 2: who she obviously adores, to lose his wife. And I

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Speaker 2: think Beth feels deeply responsible for that. So I sometimes

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Speaker 2: I think she's making up over compensating to try and

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Speaker 2: she has to save she has to save him, save

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Speaker 2: the land for him. You know, his dream is what

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Speaker 2: I will die for protecting. And I completely believe her.

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Speaker 2: I think both of these characters will die for him

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Speaker 2: for sure.

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Speaker 4: That's without it's really anyone in the family, you know,

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Speaker 4: even to an extent, I think you you know, I

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Speaker 4: don't think that his perspective isn't like, well, one person

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Speaker 4: is better than there whoever is on that ranch, especially

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Speaker 4: a branded man. He would step in front of a

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Speaker 4: bullet or you know, take on a bar just doesn't.

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Speaker 2: Matter to And at different times I think that's beautiful

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Speaker 2: and other times I think that's fucked up exactly right,

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Speaker 2: because what like, what does that do to someone if

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Speaker 2: they are just living to make up for something else,

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Speaker 2: because we're just so grateful that you're alive, or I'm

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Speaker 2: just so sorry about what I did and I have

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Speaker 2: to make you know, I have to make up for it.

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Speaker 2: I feel like there is a misguided devotion that's starting

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Speaker 2: to fall apart. I think in this season you start

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Speaker 2: to see the dysfunction. I mean, the dysfunction is clearly

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Speaker 2: there throughout all of it. Don't get me wrong, right,

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Speaker 2: but you know, I think with Beth and that sort

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Speaker 2: of over protective thing, overbearing thing that she sort of

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Speaker 2: had with her father. I mean, even at the end

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Speaker 2: she is delivering so her father, here you are, I've

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Speaker 2: just killed for you literally pretty much, but that now

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Speaker 2: you own him. Now I'm going to sleep. It's just

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Speaker 2: like she will go to the darkest places for him.

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Speaker 1: Yeah, and as you mentioned, if she feels like her

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Speaker 1: vulnerability or her weakness is what cost her her mother

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Speaker 1: and cost her father his wife, and thus she covers

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Speaker 1: up that vulnerability, fights against that, doesn't allow herself to

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Speaker 1: ever feel that way again except with him, Except with him.

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Speaker 1: And I think that, Yeah, that's the incredible gift of

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Speaker 1: long form storytelling, is that that can be such it

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Speaker 1: because when you're exactly right too, that when we find

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Speaker 1: them in season one, she's not quite ready to allow

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Speaker 1: herself to feel those feelings.

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Speaker 2: She's just drinking whiskey and gonna run at wolves like

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Speaker 2: you know, crazy person. And you know, she's just living

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Speaker 2: on the edge of not wanting to feel anything.

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Speaker 4: And it's it's so interesting too, Like I love the

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Speaker 4: way that Taylor wrote season one in the sense that

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Speaker 4: he and we talked about it a little bit, you know,

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Speaker 4: to be fair, but I always wanted Rip to be

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Speaker 4: to allow her to feel like she wasn't being you know,

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Speaker 4: shackled or like pressured into anything. That it was like

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Speaker 4: he had this great ability to allow her to live

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Speaker 4: whatever life she wants to be. And I think when

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Speaker 4: you have that, you know, you draw in that person

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Speaker 4: that you really love.

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Speaker 2: It's unconditional love, right, It's what we all want, and

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Speaker 2: he does love her unconditionally. I mean there's that scene

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Speaker 2: I don't even know what season it is, maybe one

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Speaker 2: or two where with Walker and you said, I don't

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Speaker 2: care if you've been with him or not. I care

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Speaker 2: about you, Like, there isn't an ownership thing.

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Speaker 3: I don't care who you fuck.

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Speaker 2: Yeah, there's no ownership on a story that is all

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Speaker 2: about ownership. There is none here, and so there's a

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Speaker 2: freedom and of a beauty to it that I think

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Speaker 2: touches people.

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Speaker 1: Yeah, that's a fascinating point you just make. The show

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Speaker 1: is so much about who owns what, who has the

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Speaker 1: rights to? What entitles you to property? You know, and

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Speaker 1: like is it history? Is it tradition? And that idea

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Speaker 1: that part of what Bett loves about Rip is that

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Speaker 1: he's not trying to make her property to a certain extent,

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Speaker 1: because she spent her whole life trying to defend her

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Speaker 1: father's property, his vision of his empire. That's that's a

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Speaker 1: beautiful articulation of that. I think another thing that Taylor

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Speaker 1: does that is so brilliant is these highs and lows.

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Speaker 1: And there are some, you know, incredibly devastating lows, some

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Speaker 1: brutally painful, excruciating lows that we've seen both of these

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Speaker 1: characters navigate, and then these highs that they find together.

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Speaker 1: And as you articulated earlier in that season two the

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Speaker 1: attack by the Beck brothers, they're back to back in

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Speaker 1: the same scene, these lowest moments and these highest moments.

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Speaker 1: And part of what I love about that is it

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Speaker 1: also gives you, know, as someone who's really learning a

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Speaker 1: lot as an actor from both of you. It gives you, guys,

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Speaker 1: the opportunity to swing on this wild roller coaster over

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Speaker 1: the course of one scene, and that a good character

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Speaker 1: isn't just one thing or the other. You're not just

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Speaker 1: happy or sad. You guys, in thirty seconds sometimes have

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Speaker 1: to go from the best moment of your life to

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Speaker 1: the worst moment of your life and back again.

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Speaker 2: Yeah, it's pretty terrifying.

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Speaker 3: I love it.

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Speaker 2: I mean, I love it too, But it's.

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Speaker 1: Rich.

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Speaker 2: It's so rich. Taylor Sheridan's writing for these characters is

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Speaker 2: so rich.

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Speaker 4: All you can ask for as an actor and an actress,

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Speaker 4: at least for me, you know, and what my want

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Speaker 4: and desires is for colors in a scene and that's

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Speaker 4: what you're talking about, those highs and those in that

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Speaker 4: wave that you get to go on, and Taylor does

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Speaker 4: it brilliantly.

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Speaker 1: And part of what facilitates that. As an actor, as

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Speaker 1: you're describing, part of what Beth needs is to sort

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Speaker 1: of be able to feel this vulnerability, to allow herself

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Speaker 1: to feel vulnerable. And as an actor, as you go

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Speaker 1: on these incredible emomenteotional highs and lows, part of what

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Speaker 1: that requires is vulnerability. On set. You have to sort

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Speaker 1: of be able to trust your scene partner. So even

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Speaker 1: as your characters are sort of finding this newfound vulnerability

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Speaker 1: with each other, it feels like you, guys, as actors,

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Speaker 1: you have to have a scene partner who you feel,

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Speaker 1: who you can trust to go on that journey with.

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Speaker 2: I couldn't imagine doing this with another actor. I mean,

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Speaker 2: I've never had an experience like this of what you said, Yeah, exactly,

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Speaker 2: that's what it is. Trust. And I'm sure to the

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Speaker 2: world that sounds like nonsense. Trust in acting, Like what

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Speaker 2: does that mean? But I mean I am. I spend

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Speaker 2: most of my time raw in this show and you're

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Speaker 2: not always sure if you're making the right decisions or

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Speaker 2: if you're what you're going for is working. And to

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Speaker 2: be in a scene with someone who has your back

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Speaker 2: and has and wants the best for you in the

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Speaker 2: scene and can tell you honest leave like and to

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Speaker 2: respond to what you're giving like it's like it's like,

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Speaker 2: you know, it's a it's a real language in exchange,

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Speaker 2: and it's a living it's a living thing. Like we

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Speaker 2: don't rehart, we just shoot, and so it's so full

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Speaker 2: and it's such a it's such a it's a real

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Speaker 2: I mean.

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Speaker 3: Yeah, I mean, I'll echo.

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Speaker 4: We've been asked this, you know, a few times through

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Speaker 4: interviews over the last couple of years, but you know,

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Speaker 4: to look at it deeply, you you have to really

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Speaker 4: trust someone and and there is so much that we've

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Speaker 4: done together in the last four years that has If it.

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Speaker 3: Was anybody else, I mean, it would have been very tough.

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Speaker 4: So with Kelly and I you know, I guess kind

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Speaker 4: of just like a role and you're you know, and

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Speaker 4: in the acting world, if you get one that's like this,

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Speaker 4: you know, you're lucky enough to get that role, and

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Speaker 4: then to get one that you have the ability to

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Speaker 4: work with someone that you just open your heart up

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Speaker 4: and you just go here it is, and you know,

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Speaker 4: let's play, and let's let's play at the you know,

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Speaker 4: the highest level.

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Speaker 2: We can we enjoy each other, like I love the

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Speaker 2: decisions he makes, and by not rehearsing it frees it

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Speaker 2: up completely to play and to sort of allowing things

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Speaker 2: to live.

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Speaker 3: Just go through the motions and then go yeah, let's go.

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Speaker 1: Yeah, and then you can be authentically surprised by each other.

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Speaker 2: Because I think horrified, like what are you doing?

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Speaker 1: Because Bed and Rip. Part of what I think audiences

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Speaker 1: respond to is they delight each other. There are people

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Speaker 1: who find such an incredible there there are two kind

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Speaker 1: of weirdos, to be honest, who find such joy in

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Speaker 1: each other that they can't find elsewhere. And watching you

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Speaker 1: guys discover that that real sense of curiosity and discovery

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Speaker 1: in each other, I think is such an incredible gift.

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Speaker 2: I'm so grateful that I have a character who sort

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Speaker 2: of laughs and shakes his head at me, because otherwise,

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Speaker 2: if he if his reaction was like, you can't raising

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Speaker 2: be in real trouble. So the fact that he enjoys

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Speaker 2: her allows the audience to go, oh, maybe.

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Speaker 3: She's not hysterical. I mean, and personally I think Kelly's hysterical.

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Speaker 3: Like the way she plays it.

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Speaker 4: It's funny to me because it's you know, it's like,

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Speaker 4: I don't know, I've never met.

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Speaker 3: Anybody like it, but it's like it's the same time too.

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Speaker 4: It reminds me a little bit of my sister, so

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Speaker 4: because she's so serious and she says the funniest shit

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Speaker 4: in the world, and it's.

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Speaker 3: Like everybody goes, oh God, she's pissed off, and I just.

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Speaker 4: Go, you know what I mean, And my mom and

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Speaker 4: always looks at me and she goes, yeah, you're just

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Speaker 4: totally disarmed her by doing that, And I'm like, yeah,

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Speaker 4: well that's the idea.

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Speaker 1: That's what's amazing about both of you guys. Both of

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Speaker 1: you guys are also so funny. And that's one of

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Speaker 1: the rarest, the rarest glimpses we get on the show

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Speaker 1: is to see you guys sort of exercise your incredible

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Speaker 1: comedic timing, your incredible comedy chops. And I think about

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Speaker 1: the scene in season four that I Love you guys

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Speaker 1: are arguing about Carter. I think it's about you getting

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Speaker 1: him some new clothes and you say fuck you, and

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Speaker 1: there's just this moment.

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Speaker 3: Yeah.

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Speaker 2: I mean, it's all in the writing. I mean, it

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Speaker 2: really is. We are so blessed with such great I mean,

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Speaker 2: for me, I'm always asked like, what's your favorite one liner?

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Speaker 2: And I'm like, I can't pick one. I have so many,

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Speaker 2: so many, and they come so naturally to Taylor. It's

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Speaker 2: just like it's just they just keep coming.

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Speaker 4: Every once in a while though, I will I will

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Speaker 4: screw with her and she slap.

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Speaker 2: Me of course.

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Speaker 4: Yeah. Yeah, And it's so great because it gets this

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Speaker 4: kind of boyish quality out of me.

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Speaker 3: They like this little kid is Wow.

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Speaker 1: Well they've known each other. They're both people who had

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Speaker 1: to grow up far too fast. They're both people who

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Speaker 1: had were asked to be adults at a very young age,

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Speaker 1: who didn't get to have a childhood to a certain extent.

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Speaker 1: And so exactly as you just described, that opportunity to

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Speaker 1: be a boy, the opportunity to be a kid where

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Speaker 1: both of you have to be leaders. You have to

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Speaker 1: carry so much weight. Rip can't smile. Rip can't let

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Speaker 1: anybody else on the ranch see a chink in his

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Speaker 1: armor for a second. If anybody sees weakness. They're going

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Speaker 1: to take advantage of him, and they're not going to

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Speaker 1: respect him as a leader, or at least that's maybe

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Speaker 1: his idea. And so the fact that you guys can

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Speaker 1: allow yourselves to show each other those different shades is amazing,

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Speaker 1: So Kelly, for you, is there any one scene that

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Speaker 1: kind of defines the relationship between Rip and Beth.

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Speaker 2: One of my favorite scenes is when Rip makes Beth breakfast.

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Speaker 2: This is really simple act of just normalcy, domestic kind

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Speaker 2: of simplicity and kindness, and I don't think she really

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Speaker 2: knows how to handle it. I think she is like

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Speaker 2: this and he's not eating, so he's just made this

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Speaker 2: for her. And there was just that lovely moment of going, oh,

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Speaker 2: this is where her happiness will lie.

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Speaker 1: I hope in those simple things, because it feels like

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Speaker 1: the stakes of the show can be so high, right,

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Speaker 1: it's buildings exploding, it's billion dollar land deals. Beth is

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Speaker 1: constantly asked to stare down huge mythical stakes, and then

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Speaker 1: you see in those little moments, you see what it's

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Speaker 1: all for.

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Speaker 4: But Taylor is brilliant in this way, and he knows

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Speaker 4: us well enough that he's given us the opportunity to

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Speaker 4: do this is that he won't write, He won't overwrite

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Speaker 4: a scene.

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Speaker 3: For example, that scene, he could have.

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Speaker 4: Overwritten it, and you know, but he let the cameras

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Speaker 4: sit on us and watch each other and glimpse at

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Speaker 4: you know, food and you know, and just take in

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Speaker 4: the scene. And and Kelly, I remember doing that scene

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Speaker 4: and making you the thing and looking up at her

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Speaker 4: and she's just taking in everything that's in her surroundings.

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Speaker 3: And those moments, you know, letting.

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Speaker 4: Those characters breathe for just a second, you know, is

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Speaker 4: what I think, you know, really endears people to their hearts,

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Speaker 4: you know, is that it's not having to be the

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Speaker 4: leader at that moment. It's not having to throw somebody

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Speaker 4: through a window. It's not having to kill, it's not

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Speaker 4: you know, it's just that.

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Speaker 2: Stillness girl in her. Yeah, like you allow her to

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Speaker 2: be like not in control of something, not having to

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Speaker 2: fix something.

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Speaker 3: Or let me do something for you.

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Speaker 2: It's so foreign.

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Speaker 1: And that's the incredible gift I think of the long

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Speaker 1: form nature of television.

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Speaker 2: Right.

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Speaker 1: So, right now we're talking about a love story that

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Speaker 1: has gone on for forty hours, right, that's like about

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Speaker 1: twenty movies, you know what I mean? Like, it's hard

404
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Speaker 1: to imagine another form. You know, I think you both

405
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Speaker 1: have done theater. I think you've both done a lot

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Speaker 1: of fucking incredible films, But it's hard to imagine another

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Speaker 1: form where you get to spend forty hours exploring these characters,

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Speaker 1: exploring other actors, getting to know another actor in the

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Speaker 1: same way that these characters have known each other for

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Speaker 1: their entire lives. Right you're playing characters have known each

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Speaker 1: other for thirty years, and so the part of the

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Speaker 1: only thing that can actually sort of accomplish that to

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Speaker 1: a certain extent is time. It's getting to spend time

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Speaker 1: in those quiet moments. And I think that's also Taylor's

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Speaker 1: tremendous gift as as a writer, is being judicious with

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Speaker 1: the quiet moments, being sparing with the huge explosions, spending

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Speaker 1: an entire season building up to you know, season three,

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Speaker 1: episode ten, season four episode one, these huge tent pole

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Speaker 1: episodes with you know, fifteen minute sequences that cost ten

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Speaker 1: million dollars, Like these massive stakes moments. You earn those

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Speaker 1: with the quiet moments, and you earn the quiet moments

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Speaker 1: with those big moments. And I think both of your

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00:22:06,720 --> 00:22:11,960
Speaker 1: performances do that on an individual level, you have these

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Speaker 1: huge explosive moments. When I imagine Rip, I imagine him yelling.

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Speaker 1: I imagine him throwing someone's through a window, driving a

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Speaker 1: truck into those choppers. Like when I imagine Beth, I

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Speaker 1: imagine her tearing people apart. I imagine her strength, her yelling.

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Speaker 1: But then those moments earn the quiet moments, and the

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Speaker 1: quiet moments contrast those loud moments in such a beautiful way.

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Speaker 1: You guys are so brilliant at pacing out those performances.

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Speaker 1: Is there anything I mean, you guys have obviously been

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Speaker 1: doing press together also for four years. Is there anything

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00:22:43,280 --> 00:22:44,920
Speaker 1: you guys have ever wanted to ask each other?

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Speaker 2: It's funny, we actually haven't done press for the last

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Speaker 2: year because of COVID, so we're all just in our

436
00:22:50,040 --> 00:22:53,240
Speaker 2: own little worlds doing press talking to someone through zoom.

437
00:22:53,359 --> 00:22:56,800
Speaker 2: So it's very rare that we will get together when

438
00:22:56,800 --> 00:22:58,000
Speaker 2: we're not playing the character.

439
00:22:58,080 --> 00:23:01,600
Speaker 3: Yeah, yeah, yeah, this actually just around discussion is actually nice.

440
00:23:01,680 --> 00:23:04,479
Speaker 4: Yeah, to have Luke here to be with you, to

441
00:23:04,520 --> 00:23:07,160
Speaker 4: have actually a good interviewer, you know, not that all

442
00:23:07,240 --> 00:23:09,680
Speaker 4: or bad, but you know, I think you're as good

443
00:23:09,680 --> 00:23:10,760
Speaker 4: as your interview always.

444
00:23:10,840 --> 00:23:14,080
Speaker 3: I've always said that, So, you know, well done, Jefferson.

445
00:23:14,119 --> 00:23:15,680
Speaker 1: Thanks man, I've still got plenty of time to fuck

446
00:23:15,720 --> 00:23:18,320
Speaker 1: it up. Just wait, pancakes are waffles?

447
00:23:18,320 --> 00:23:21,080
Speaker 3: Call fuck you, Jimmy.

448
00:23:21,280 --> 00:23:24,120
Speaker 1: So we were obviously we're talking about getting to explore

449
00:23:24,160 --> 00:23:26,720
Speaker 1: more dynamics, getting to explore more shades of these characters

450
00:23:26,720 --> 00:23:29,840
Speaker 1: over time. In season four, there's a new introduction to

451
00:23:30,040 --> 00:23:33,160
Speaker 1: Beth and Rip's strange little family that is very new

452
00:23:33,280 --> 00:23:36,160
Speaker 1: for both of them. Neither of them necessarily have experience

453
00:23:36,240 --> 00:23:38,320
Speaker 1: as parents. So will you guys talk a little bit

454
00:23:38,359 --> 00:23:41,280
Speaker 1: about exploring that new side of them and what it

455
00:23:41,320 --> 00:23:43,080
Speaker 1: means for their relationship to each other.

456
00:23:44,520 --> 00:23:48,919
Speaker 4: Well, I mean, I think initially my thought of Carter

457
00:23:50,160 --> 00:23:52,679
Speaker 4: is that he's a thief, and I don't really like thieves,

458
00:23:52,720 --> 00:23:53,800
Speaker 4: and it's just that simple.

459
00:23:53,840 --> 00:23:56,200
Speaker 3: And you know, she kind of gives me a very

460
00:23:56,240 --> 00:23:57,520
Speaker 3: small amount of information.

461
00:23:58,440 --> 00:24:02,320
Speaker 4: And I think with Rip, you know, and there's been

462
00:24:02,359 --> 00:24:04,879
Speaker 4: a little bit of conversation on social media of why

463
00:24:05,480 --> 00:24:06,840
Speaker 4: he's so tough on this kid.

464
00:24:06,760 --> 00:24:08,120
Speaker 3: But it's.

465
00:24:09,119 --> 00:24:11,800
Speaker 4: It doesn't matter about whether he's thirteen years old or

466
00:24:11,840 --> 00:24:14,719
Speaker 4: he's thirty three years old. He has his way of

467
00:24:14,760 --> 00:24:18,160
Speaker 4: dealing with people, you know, and he is consistent at

468
00:24:18,240 --> 00:24:21,160
Speaker 4: least at that, and I love that, you know, I've

469
00:24:21,160 --> 00:24:24,439
Speaker 4: talked to Taylor about this is consistency of character, you know,

470
00:24:24,560 --> 00:24:27,800
Speaker 4: and he is the perfect example, in my opinion, of

471
00:24:27,840 --> 00:24:31,199
Speaker 4: being consistent no matter who you are, you know. And

472
00:24:31,240 --> 00:24:34,800
Speaker 4: then he has his beliefs, and I think that the

473
00:24:34,840 --> 00:24:37,640
Speaker 4: one thing that he didn't know, which I really love,

474
00:24:38,160 --> 00:24:41,080
Speaker 4: you know, in that scene with Carter after he throws

475
00:24:41,119 --> 00:24:43,560
Speaker 4: him out of the truck, is that when he looks

476
00:24:43,720 --> 00:24:45,720
Speaker 4: in the mirror, it's just that little moment of him

477
00:24:45,960 --> 00:24:49,280
Speaker 4: his eyes catching the mirror and he sees himself. It's

478
00:24:49,320 --> 00:24:53,119
Speaker 4: just that little minute a second, excuse me, and he

479
00:24:53,240 --> 00:24:57,359
Speaker 4: sees the young version of him walking down that road

480
00:24:57,440 --> 00:25:01,040
Speaker 4: by himself, and that stops him. And that's what changes,

481
00:25:01,960 --> 00:25:06,840
Speaker 4: you know, the the narrative, I guess, for the relationship.

482
00:25:06,200 --> 00:25:06,399
Speaker 3: And for.

483
00:25:08,080 --> 00:25:10,480
Speaker 2: No I just I always see in rep as well.

484
00:25:10,480 --> 00:25:13,960
Speaker 2: When I watch it, I see that he's fighting against himself.

485
00:25:14,880 --> 00:25:19,439
Speaker 2: It's almost like, you know, we're almost always harder on

486
00:25:19,480 --> 00:25:25,080
Speaker 2: ourselves than anybody else. And if this young man is

487
00:25:25,119 --> 00:25:28,800
Speaker 2: a reflection of himself, all the things he was, all

488
00:25:28,840 --> 00:25:31,320
Speaker 2: the things he could have ended up being, or you know,

489
00:25:31,440 --> 00:25:33,479
Speaker 2: it's I think when you're presented with a mirror that

490
00:25:33,520 --> 00:25:35,679
Speaker 2: it's not something that you want to see about yourself

491
00:25:35,760 --> 00:25:39,679
Speaker 2: or be reminded about yourself. I think that's what I

492
00:25:39,720 --> 00:25:41,680
Speaker 2: see when I watch you dealing with him. It's almost

493
00:25:41,720 --> 00:25:45,359
Speaker 2: like I can't you can't let him in yet.

494
00:25:46,119 --> 00:25:48,600
Speaker 3: Yeah, I don't think at first he knows that.

495
00:25:48,760 --> 00:25:50,000
Speaker 2: No, it's unconscious.

496
00:25:50,000 --> 00:25:51,200
Speaker 3: No, it's totally unconscious.

497
00:25:51,240 --> 00:25:53,160
Speaker 4: And that's that's the way I wanted it to come off,

498
00:25:53,160 --> 00:25:55,400
Speaker 4: but didn't want it to feel like, oh, he's being

499
00:25:55,440 --> 00:25:58,000
Speaker 4: this way based on you know, the way that it

500
00:25:58,080 --> 00:26:01,000
Speaker 4: was written, or you know that it makes sense that Okay, now,

501
00:26:01,280 --> 00:26:05,040
Speaker 4: Carter is what Rip was. It's actually they're totally opposite.

502
00:26:06,119 --> 00:26:09,200
Speaker 4: Rip was not a thief. You know, he he lost

503
00:26:09,240 --> 00:26:11,840
Speaker 4: his parents. You know, he was hiding in a barn

504
00:26:11,920 --> 00:26:14,560
Speaker 4: and it was basically the sheriff called John Dutton to

505
00:26:14,600 --> 00:26:16,760
Speaker 4: come and get him, and he took him into, you know,

506
00:26:16,800 --> 00:26:20,560
Speaker 4: his family, and he's really been their family ever since.

507
00:26:20,640 --> 00:26:22,080
Speaker 3: So it's not the same.

508
00:26:22,160 --> 00:26:25,760
Speaker 4: But what is the same is that kid who's lost,

509
00:26:26,119 --> 00:26:30,880
Speaker 4: you know, who doesn't And so I think tough love

510
00:26:31,119 --> 00:26:33,040
Speaker 4: if you want to call it, you know, and obviously,

511
00:26:33,800 --> 00:26:38,439
Speaker 4: as you know, you know, Jeff, tough love is you know,

512
00:26:39,119 --> 00:26:41,840
Speaker 4: it is the way so the man.

513
00:26:41,960 --> 00:26:48,919
Speaker 2: Become it's a little bit more. I know, it's more complicated,

514
00:26:48,920 --> 00:26:52,560
Speaker 2: but there's some complexity in it that is different for her.

515
00:26:54,800 --> 00:26:58,960
Speaker 2: You know, obviously the history of best she has a

516
00:26:59,000 --> 00:27:08,600
Speaker 2: secret because your ears exactly obviously she had she had

517
00:27:08,640 --> 00:27:15,160
Speaker 2: an abortion with rips baby when she was fourteen years old,

518
00:27:17,680 --> 00:27:20,200
Speaker 2: and we all know what the story, what happened with her,

519
00:27:20,560 --> 00:27:26,679
Speaker 2: this terrible thing that happened, and it's she's unable to

520
00:27:26,720 --> 00:27:32,000
Speaker 2: have children of her own because of it. And I

521
00:27:32,040 --> 00:27:35,600
Speaker 2: think much not much different from her father. There is

522
00:27:35,640 --> 00:27:38,600
Speaker 2: a sense of I'm not able to give this to

523
00:27:38,640 --> 00:27:41,480
Speaker 2: the man I love. I'm not able to give that

524
00:27:41,560 --> 00:27:43,640
Speaker 2: to him. I'm not able to provide that for him.

525
00:27:43,680 --> 00:27:46,879
Speaker 2: And he's so gracious in the season three and he's like,

526
00:27:46,880 --> 00:27:48,600
Speaker 2: I don't want kids, and I don't know if she

527
00:27:48,640 --> 00:27:50,119
Speaker 2: believes him. I don't think she does. I think he

528
00:27:50,160 --> 00:27:52,840
Speaker 2: would have had a ton of them. But it doesn't

529
00:27:52,880 --> 00:27:54,280
Speaker 2: mean to say he's going to love her any less.

530
00:27:54,280 --> 00:27:56,359
Speaker 2: And I love that, And it doesn't mean that children

531
00:27:56,400 --> 00:27:58,320
Speaker 2: are to be all and end all of a relationship.

532
00:27:58,359 --> 00:28:02,040
Speaker 2: I love that. That's not what this story. But I

533
00:28:02,119 --> 00:28:05,480
Speaker 2: do think she carries like maybe I can give Maybe

534
00:28:05,480 --> 00:28:09,040
Speaker 2: there's a way for him to be a father. There

535
00:28:09,080 --> 00:28:12,119
Speaker 2: are many ways to parents, right, And I think best

536
00:28:12,200 --> 00:28:14,600
Speaker 2: thinks for a minute, this would be a way of

537
00:28:14,640 --> 00:28:19,879
Speaker 2: her to give that to him, which I think is

538
00:28:21,280 --> 00:28:24,080
Speaker 2: you know, there's many layers to that. But and he

539
00:28:24,080 --> 00:28:26,600
Speaker 2: says to her, you know, he's not our kid. He's

540
00:28:26,600 --> 00:28:30,679
Speaker 2: not our kid, no matter what you know. And then

541
00:28:30,720 --> 00:28:33,159
Speaker 2: there's that brutal moment where he calls her mama in

542
00:28:33,200 --> 00:28:37,280
Speaker 2: the barn, which when I read that, I was like,

543
00:28:37,400 --> 00:28:44,320
Speaker 2: oh my God, Like, how how am I gonna play that? Ah?

544
00:28:44,640 --> 00:28:46,800
Speaker 2: But she's about to go kill someone, So it's like

545
00:28:46,880 --> 00:28:50,600
Speaker 2: she has to compartmentalize her nurturing motherly instincts and love

546
00:28:50,880 --> 00:28:55,120
Speaker 2: to her brutal heart. So it's like it's almost that's

547
00:28:55,160 --> 00:28:59,800
Speaker 2: not but she's also I think her belief is that

548
00:29:00,160 --> 00:29:03,280
Speaker 2: she tells him this, this boy that I am your mother,

549
00:29:04,320 --> 00:29:09,400
Speaker 2: it's not it's not true. Doesn't mean that she can't

550
00:29:09,400 --> 00:29:12,400
Speaker 2: one day mother him. I hope she does. I hope

551
00:29:12,440 --> 00:29:16,440
Speaker 2: she allows herself that experience for him and for her,

552
00:29:16,960 --> 00:29:20,920
Speaker 2: for them. Who knows what's going to happen. But I

553
00:29:20,960 --> 00:29:23,200
Speaker 2: do think that she says I lost when she says

554
00:29:23,200 --> 00:29:26,240
Speaker 2: I lost my mother, you lost yours. We don't get another.

555
00:29:26,640 --> 00:29:29,000
Speaker 2: The hardest line I had to say was, you know,

556
00:29:29,280 --> 00:29:33,400
Speaker 2: crying never helps talk about Yeah, but that's how she

557
00:29:33,560 --> 00:29:37,040
Speaker 2: was raised. There's no space for that, and that's why

558
00:29:37,080 --> 00:29:39,360
Speaker 2: she's crying in the barn with Walker. There's nowhere else

559
00:29:39,400 --> 00:29:42,000
Speaker 2: for that place. There's nowhere for that pain to go.

560
00:29:42,400 --> 00:29:45,360
Speaker 2: And I'm sure people want to lean into the fantasy

561
00:29:45,440 --> 00:29:48,280
Speaker 2: and the story of these two becoming suddenly great parents

562
00:29:48,320 --> 00:29:51,080
Speaker 2: and this like and he does give us those moments

563
00:29:51,120 --> 00:29:54,040
Speaker 2: of joy out of that, But I think the truth

564
00:29:54,240 --> 00:29:57,040
Speaker 2: of what Taylor's getting at somewhere, and like you said,

565
00:29:57,040 --> 00:30:02,280
Speaker 2: integrity to the characters is what makes this show unique.

566
00:30:02,640 --> 00:30:07,400
Speaker 2: That he's unafraid of some of the shadowy aspects of

567
00:30:07,640 --> 00:30:12,480
Speaker 2: what it means to be alive and relationships and complexities

568
00:30:12,520 --> 00:30:14,800
Speaker 2: of the baggage we bring of our childhood trauma.

569
00:30:16,000 --> 00:30:16,200
Speaker 3: Yeah.

570
00:30:16,240 --> 00:30:18,080
Speaker 4: One thing though, that I will say, and I think

571
00:30:18,680 --> 00:30:21,560
Speaker 4: I've been asked a couple of times, and sitting here

572
00:30:21,560 --> 00:30:24,760
Speaker 4: with you guys, you know, listening to you speak, you know,

573
00:30:24,840 --> 00:30:27,000
Speaker 4: kind of taking myself out of the equation just hearing

574
00:30:27,040 --> 00:30:29,640
Speaker 4: what you're saying, is I think the reason why this

575
00:30:29,720 --> 00:30:33,120
Speaker 4: show has been so successful is that they aren't perfect.

576
00:30:33,560 --> 00:30:37,200
Speaker 4: That America and Americans and now that it's growing, you know, globally,

577
00:30:37,680 --> 00:30:40,280
Speaker 4: is that they're looking at people that they can relate

578
00:30:40,320 --> 00:30:42,440
Speaker 4: with and they can see and go you know what,

579
00:30:43,800 --> 00:30:49,560
Speaker 4: Beth Rip, Jimmy you know, you know John Casey, you know,

580
00:30:50,040 --> 00:30:52,560
Speaker 4: the list goes on and on and on of really

581
00:30:52,760 --> 00:30:59,520
Speaker 4: just I mean, unbelievably real characters that are unapologetic at times,

582
00:31:00,160 --> 00:31:03,560
Speaker 4: you know, who have a tremendous amount of love and impassion,

583
00:31:03,640 --> 00:31:07,560
Speaker 4: but also you know, have evil and you know, anger,

584
00:31:07,720 --> 00:31:10,240
Speaker 4: and you know, these are all things that especially now

585
00:31:10,240 --> 00:31:13,120
Speaker 4: in society, I mean that we're seeing more and more

586
00:31:13,160 --> 00:31:14,920
Speaker 4: and this is a show that I think people have

587
00:31:14,960 --> 00:31:17,160
Speaker 4: been able to latch onto and and be able to

588
00:31:17,160 --> 00:31:17,640
Speaker 4: see that.

589
00:31:17,600 --> 00:31:20,600
Speaker 2: Reality that those emotions aren't allowed. The darkness isn't a

590
00:31:20,640 --> 00:31:22,280
Speaker 2: loud Yeah.

591
00:31:21,680 --> 00:31:23,320
Speaker 3: And especially as like a woman.

592
00:31:23,120 --> 00:31:25,320
Speaker 2: You know, and it's like no, oh, well, he throws

593
00:31:25,360 --> 00:31:27,200
Speaker 2: me the whole wall at that, like it's like the

594
00:31:27,400 --> 00:31:29,400
Speaker 2: whole kit and kaboodle. I love it too.

595
00:31:29,880 --> 00:31:30,080
Speaker 3: Yeah.

596
00:31:30,120 --> 00:31:33,840
Speaker 1: It just lead to these sort of incredibly impossibly complex situations.

597
00:31:33,840 --> 00:31:35,680
Speaker 1: They don't have a right answer, right, And I think

598
00:31:35,680 --> 00:31:37,760
Speaker 1: from the very beginning of the show there's not a

599
00:31:37,840 --> 00:31:40,200
Speaker 1: right answer. From the from the first episode, We've got Rainwater,

600
00:31:40,240 --> 00:31:43,000
Speaker 1: We've got John Dutton, they disagree, both of them are right,

601
00:31:43,120 --> 00:31:44,240
Speaker 1: both of them are wrong, right.

602
00:31:44,520 --> 00:31:46,400
Speaker 2: I think that's what Taylor does so well. Yeah, he

603
00:31:46,520 --> 00:31:49,240
Speaker 2: presents both arguments.

604
00:31:48,360 --> 00:31:51,320
Speaker 3: Audience, you know, you know, figure out what they believe in.

605
00:31:51,440 --> 00:31:52,840
Speaker 1: Yeah, And there's not a you know, there's not a

606
00:31:52,920 --> 00:31:56,040
Speaker 1: correct love. There's not a right way to love somebody.

607
00:31:56,040 --> 00:31:57,600
Speaker 1: There's not a right way there's a book.

608
00:31:57,800 --> 00:31:58,960
Speaker 3: Yeah, there's none.

609
00:31:59,240 --> 00:32:01,920
Speaker 1: And these character are torn in a lot of different directions.

610
00:32:01,920 --> 00:32:04,960
Speaker 1: They're responding to their own pain, They're responding to what's

611
00:32:05,000 --> 00:32:07,800
Speaker 1: been asked of them and the expectations that have placed

612
00:32:07,800 --> 00:32:10,760
Speaker 1: been placed on them, both by society and by their

613
00:32:10,880 --> 00:32:14,959
Speaker 1: their father, their boss, themselves, these expectations they've placed on themselves.

614
00:32:14,960 --> 00:32:16,840
Speaker 1: And there's not a sort of neat answer, there's not.

615
00:32:17,000 --> 00:32:19,120
Speaker 1: And I think that it's amazing to see them. You know,

616
00:32:19,120 --> 00:32:21,240
Speaker 1: we talked about that kind of emotional roller coaster, that

617
00:32:21,280 --> 00:32:24,120
Speaker 1: whip sawing back and forth a lot of times. That's because, yeah,

618
00:32:24,160 --> 00:32:26,240
Speaker 1: there isn't a there isn't an answer, right, and.

619
00:32:26,160 --> 00:32:28,720
Speaker 2: We all show our love so differently. Yeah, Like when

620
00:32:28,760 --> 00:32:31,200
Speaker 2: John Dutton is saying she's evil and I need evil.

621
00:32:31,680 --> 00:32:34,560
Speaker 2: I mean, that's that's messed up. But that's how he

622
00:32:34,640 --> 00:32:37,600
Speaker 2: loves her. He loves her for that that quality, that

623
00:32:37,600 --> 00:32:41,800
Speaker 2: that that that that blood loyalty that he can depend on.

624
00:32:43,400 --> 00:32:46,400
Speaker 2: And in another situation, another relationship, you would look at

625
00:32:46,400 --> 00:32:50,080
Speaker 2: that and you would examine it, right, you would analyze

626
00:32:50,080 --> 00:32:54,880
Speaker 2: it and it would fall apart. And I think he

627
00:32:55,000 --> 00:33:00,400
Speaker 2: just there's something so juicy about leaning into those gray

628
00:33:00,480 --> 00:33:02,880
Speaker 2: areas because we can all relate to them.

629
00:33:03,640 --> 00:33:05,440
Speaker 1: It's something Luke said. I thought it was very eloquent.

630
00:33:05,520 --> 00:33:07,920
Speaker 1: Was the show's more interested in asking questions than it

631
00:33:07,960 --> 00:33:11,080
Speaker 1: is in giving answers. You know, there's you know, the

632
00:33:11,080 --> 00:33:14,280
Speaker 1: the ethics, whatever ethics or ideology you impose on it.

633
00:33:14,280 --> 00:33:17,760
Speaker 1: It sort of manages to defy, you know, categories, it

634
00:33:17,760 --> 00:33:20,640
Speaker 1: manages to it doesn't it's not interested in giving you answers.

635
00:33:20,680 --> 00:33:23,920
Speaker 1: It's interested in asking a lot of questions. Great guys,

636
00:33:23,960 --> 00:33:27,760
Speaker 1: I truly can't thank you enough for taking the time

637
00:33:27,800 --> 00:33:31,480
Speaker 1: to do this, uh and for h for yeah, for

638
00:33:31,800 --> 00:33:35,120
Speaker 1: putting the best love story, my favorite love story on screen.

639
00:33:35,240 --> 00:33:36,760
Speaker 1: So thank thank you guys so much for being here.

640
00:33:36,880 --> 00:33:38,080
Speaker 2: Thank you, thank you so much.

641
00:33:41,520 --> 00:33:43,680
Speaker 1: What an incredible honor to sit down like that with

642
00:33:43,760 --> 00:33:46,360
Speaker 1: Kelly Nicole. Next week, we're going to dive into cowboy

643
00:33:46,440 --> 00:33:49,840
Speaker 1: and rodeo culture with my stut double and real life

644
00:33:49,920 --> 00:33:55,120
Speaker 1: rodeo cowboy Bobby Roberts and fan favorite Lloyd forty J. Smith.

645
00:33:55,880 --> 00:33:59,280
Speaker 1: So please please make sure to subscribe and tune in

646
00:33:59,320 --> 00:34:04,000
Speaker 1: to the Official Yellowstone Podcast on Apple Podcasts, Spotify, wherever

647
00:34:04,040 --> 00:34:07,600
Speaker 1: you get your podcasts. The Official Yellowstone Podcast is hosted

648
00:34:07,600 --> 00:34:09,799
Speaker 1: by me Jefferson White and produced by One on One

649
00:34:09,840 --> 00:34:11,880
Speaker 1: Podcast Studios and Paramount Network