‘Yellowstone’ EP Reveals Finale Secrets: Taylor Sheridan as Comic Relief, Kevin Costner’s Absence and Shooting That Bloody Fight

As a storyteller who’s had the privilege of working with Taylor Sheridan on Yellowstone, I can attest to the unique creative journey we’ve embarked upon together. Each season has been like a rollercoaster ride, filled with twists and turns that keep us, as well as our dedicated audience, on the edge of our seats.

Warning: The following discussion may reveal plot details from the fifteenth episode of Season 5 of “Yellowstone,” titled “Life Is a Promise,” which originally aired on December 15th, 2021, on Paramount Network.

Over the last five seasons of the hugely successful Western series “Yellowstone”, the Dutton family has traveled a tough, gritty, and violent path. As the season wrapped up (before Beth and Rip’s spinoff begins), viewers were left reeling from some surprising deaths in the final episodes – even one carried out by a horse. Amidst all the violence, there was also a feeling of resolution for this powerful and turbulent Montana family. “Yellowstone” executive producer Christina Alexandra Voros discussed the eventful finale with EbMaster.

Do you know what the original ending was going to be if Kevin had stayed on?

Before Kevin left, I hadn’t discussed with Taylor exactly where our story would lead. However, cast members have shared stories of conversations they had with him early on in Season 1, suggesting that he had a sense the series would eventually involve the loss of the patriarch and the passing of the legacy. While I was aware of this general idea, it was mostly through word of mouth. The way things played out may have changed some details, but I can’t pinpoint specific differences.

I think the limitations that were put on Taylor with Kevin’s departure really brought out a side of his writing that I know people have mixed feelings about: The flashbacks and the way that the season was structured overall. I actually thought it brought out a different layer, the way that he puzzled through how to tell this story with the absence of the person that you’re telling the story about. I thought it made for some really interesting creative choices. Sometimes limitations can be the best friend of good art because it forces you to think creatively about things in a way that is not as straightforward as you might have originally planned.

We really get to know Travis this season, and seeing Taylor play a cocky playboy was a fun gear. What would you say is the biggest way that Taylor is like Travis in real life, and the biggest way he’s different?

I find Taylor’s insights as a general and entrepreneur to be just as captivating as his artistic abilities. His transformation, from a first-time director on “Yellowstone” to a multi-show powerhouse in the television industry, showcases his exceptional storytelling skills and writing prowess. It’s his knack for redefining the norms that sets him apart. Few could imagine, 20 years ago, a person living in Texas managing multiple TV series from there, all while disliking L.A. and opting for a lifestyle that balances productivity with personal freedom.

In Travis, you might notice a remarkable salesman. He seems to thrive on finding loopholes and switching things up, both literally and figuratively. If you were to inquire about this, he may tell you that this season of the show was quite somber. However, amidst the gloom, Travis provided some much-needed humor, a staple in “Yellowstone.” Despite the tragic events and losses, there’s always been a sprinkle of comedy, whether it be through amusing bunkhouse scenes or the discovery of unknown country musicians. This season, perhaps due to the intense tragedy surrounding John Dutton’s fate, some viewers might have overlooked this comedic aspect. Travis, with his humorous antics, filled that void as everyone else was deeply affected by John Dutton’s loss. I found it a daring choice, but one that effectively advanced the storyline.

What was the process of choreographing the episode’s major fight between Jamie and Beth?

We need everyone’s help now, as we’ve had exceptional stunt coordinators like Jason Rodriguez, Jordan Warrack, and initially, Wade Allen, since the start of this series. They are among the best in the industry. The cast is incredibly enthusiastic and dedicated, eager to perform as many stunts as possible, which makes it a joy for me as a filmmaker. They’re absorbing these actions into their very being. However, there will be instances where we’ll use doubles instead, who have also been with us since the beginning. They’ve learned the cast’s movements and have been studying them to provide that authenticity when needed. For example, Kelly has 12 more days of shooting, so we can’t risk any injuries. But for the most part, Kelly and Wes performed that fight scene themselves. Even if they aren’t delivering a punch or receiving one, maintaining the emotional intensity required for such scenes is draining. What spectators might not realize when watching that fight scene is that, despite its realistic, gory appearance, sustaining that fierce mental state takes a considerable toll on the actors. Ignoring the milk, bear spray, stabbing, and other elements, that’s the easy part. My respect goes out to Kelly and Wes for their ability to maintain that intense emotional war-like state throughout that scene.

Luke Grimes said in a recent interview with Esquire that, for this chunk of the season, “there was a part of Kevin being gone that meant some of the conflict was gone.” Do you agree with him on that assessment from your vantage?

Instead of directly stating that some conflict disappeared, I was told by someone else that this season was the most effortless to film. This ease, in my opinion, can be attributed to several factors. Firstly, it was our seventh year working together on the same story with many of the original crew members. Secondly, there was a fascinating instance where life mirrored art imitating life, as we removed the patriarch from the story and everyone else had to step up and fill that role on screen, carrying the dramatic weight of the show. I believe this is a wonderful experience for an actor, and this season’s cast truly embraced the opportunity. This kind of work is invigorating and gives new significance to playing familiar roles each year, as the responsibility becomes more profound.

As a devoted film enthusiast, I must admit that the collective spirit driving the characters to progress in the story mirrored our own predicament as cast members, navigating through the challenging landscape of continuing without a significant character who carried much of the narrative throughout previous seasons. A palpable sense of freshness and vigor seemed to permeate the set, perhaps heightened by the knowledge that this was our final season together. The awareness of the uniqueness and importance of our creative journey, coupled with the deep-rooted affection we harbored for each other as a team, stirred an unparalleled sense of motivation.

Right before the finale, we learned that the Beth and Rip spinoff was moving forward. Have you been involved with any of the discussions about the show at this point?

No, it’s too early to tell. I would be a fool to try to guess or bet on how Taylor is alchemizing these stories in his brain. What I will say is one of the things I’ve always been blown away by about him as a writer is he writes like something is passing through him. When we did “1883,” I got a script on a Tuesday and, by the following Tuesday, there were three more scripts and it just sort of came like a force. When he has a story in his mind it comes out very quickly and comes from a place that’s mysterious to me. So I don’t know what the next story is for him, I just hope I get to be there when he puts it on the page.

You’ve mentioned that you like to keep an eye on what fans are talking about during the season. Were there any things you were surprised to read or misconceptions you’d like to address or set the record straight on?

It’s interesting how diverse experiences we’ve had, with some people finding discomfort in everything, while others accept it as a natural part of human existence. This perspective often shifts when we anticipate the conclusion of a story or a phase in our lives. For instance, if you were told this is the last romantic partner you will ever have, you might be more discerning. Similarly, in long-lasting relationships like a TV show that has been on for six seasons, people may not have considered the ending until suddenly, they know it’s coming and the significance becomes heightened.

Audiences often have diverse perspectives on how they believe a story should conclude, as they feel a sense of ownership or connection due to their long-term investment in the narrative. This has led to a wide spectrum of opinions, ranging from adoration to criticism, with people debating various political viewpoints from deeply conservative to highly progressive ideologies. What fascinates me is that despite everyone watching the same season, their interpretations and reactions differ so greatly. I believe this diversity signifies that we’re on the right track in our storytelling. This is, after all, what art and narrative are meant to do: spark thought-provoking discussions. The breadth of reactions suggests we’ve managed to stir up conversations effectively.

2024-12-18 02:16