Taylor Kitsch Didn’t Expect a Happy Ending

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Spoilers follow for the Netflix miniseries American Primeval, which premiered on January 9. 

In “American Primeval”, the protagonist, Isaac Reed, embodies both a traditional western hero and a characteristic role of Taylor Kitsch, known for his taciturn and pragmatic demeanor, proficient in gunplay and hand-to-hand combat, yet possessing an underlying gentility. Since his breakout performance as the loyal, tormented, smoldering Tim Riggins on “Friday Night Lights”, Kitsch has been portraying such rugged, soft-hearted characters. Isaac carries a troubled past and hidden tenderness that endeared him to the travelers he’s guiding west, Sara Holloway (Betty Gilpin) and her son Devin (Preston Mota). They all come to view him as the husband and father they yearn for. However, in a finale scene that has left viewers enraged, Isaac is fatally wounded while protecting Sara and Devin, an ending that deprives the tormented character of another chance at life and love. Kitsch acknowledges the criticism he’s received – and views it as a compliment.

According to Kitsch, it’s gratifying to see such a positive response to the show. His role in American Primeval is just one more project in his almost two-decade long partnership with director Peter Berg. They’ve worked together on movies like Lone Survivor, Battleship, Painkiller, and yes, Friday Night Lights. Interestingly, while Kitsch is somewhat hesitant and eager to discuss the reboot of Friday Night Lights at the same time. “I’d prefer you to be genuinely angry that my character dies, rather than feeling indifferent,” he says. “Then I know I didn’t do a good job if you don’t feel anything.

The six-part mini-series penned by Mark L. Smith, known for “The Revenant”, takes us to the Utah Territory in 1857 and follows the turmoil and conflict arising from power struggles among different factions. Mormon settlers are determined to overthrow the U.S. administration, and characters Sara, Devin, and Isaac narrowly survive a deadly assault thanks to each other’s aid. The U.S. army is attempting to control the Mormon insurgency while forcibly relocating Native tribes from their homelands onto government-designated reservations. Meanwhile, the Shoshone people, who had raised Isaac after he was sold to them, are under a dual threat of annihilation by the Mormons and harassment from the U.S. authorities. Kitsch’s character serves as a bridge between the series’ white and Shoshone realms. He gained insights into the tribe’s traditions and ceremonies by visiting the Wind River reservation and collaborating with the production’s Indigenous advisors. “They were incredibly forthcoming,” Kitsch shares from his Montana home, “You can’t afford to make mistakes when dealing with such sensitive matters.

In the series, we’re given glimpses of Isaac’s past as his backstory unfolds gradually. We discover that he was raised among the Shoshone tribe and that his family – his wife and child – were tragically taken from him. When developing Isaac’s character, I collaborated extensively with the writers to create a history for him, both individually and in relation to Peter and Mark.

During this process, I focused particularly on Isaac’s upbringing because those years have a profound impact on shaping a person’s life. The Shoshone culture was crucial in understanding how Isaac would have been raised and how it influenced his grief over the loss of his family.

To honor the Shoshone community accurately, I visited the Wind River reservation, worked with them, and learned about their unique burial practices. It was a sensitive and intense experience, especially when asking personal questions about their rituals, particularly concerning warriors. After some time, I realized that the way they honor and bury their fallen warriors might differ from regular members of the community. This insight helped me create a more authentic backstory for Isaac.

Could you share some titles of books you referred to during your research? One of them is “Becoming Brave: The Path to Native American Manhood,” which emphasizes the concept of life being cyclical rather than having an end or death as a finality. When Devin mentioned they were dead, I countered with ‘they’ve crossed over,’ a phrase that held significant meaning for me. Both Pete and Smith were comfortable with this interpretation. Another book you might find interesting is “Native American Clothing: An Illustrated History,” which we focused on as part of our wardrobe design efforts, incorporating the Shoshone colors. I also wanted to preserve a few items my wife made for me that represent my mixed heritage, being a blend of white and Shoshone ancestry.

What was your method for learning the dialogues in the Shoshone language while you were at Wind River and working with a specialist? Well, let me tell you, we quickly realized that not all Native tribes speak in the same cadence. That was clear from day one. After that, I approached it phonetically. I used large whiteboards, similar to those I employed for “Waco” and the lengthy monologues as well as the written Bible verses Dave would write. For this project too, I wrote the dialogues on my whiteboard all around my house, along with their English translations. I always tried to incorporate more Shoshone into it because I loved it and felt more like Isaac when I could speak it, rather than speaking English.

In our conversations dating back to Friday Night Lights, you and Peter have discussed your collaborative partnership. He’s willing for you to propose dialogue and motivations for your characters. In the second episode, you proposed a scene where your character, Isaac, and your mother, White Bird, played by Irene Bedard, spoke in Shoshone about the emotional turmoil Isaac was experiencing. Let me tell you more about that significant moment.

For me, this was the most poignant scene of the series for Isaac’s development. It was crucial to demonstrate that he was deeply affected by everything happening, rather than just portraying him as a lazy or grumpy character. As an actor, I always strive to offer more depth to the characters I play. For every role, I write extensive documents about the character’s personality traits when interacting with others and alone. When pitching ideas, it’s essential to come prepared with all the necessary details.

Originally, the scene was intended to focus on Red Feather going rogue and providing additional exposition. However, I felt this moment could be more impactful for Isaac. It represented his first visit since losing his family, and he was burdened by guilt he didn’t know how to handle. I wrote the dialogue in Shoshone and FaceTimed Peter to discuss it. Mark was incredibly supportive, saying, “With the research you’ve done, you are now Isaac. I trust you.” That empowerment comes from his exceptional writing skills. But ultimately, the best idea prevailed.

The finale of the show left some viewers upset because your character met an untimely end. What started as a tender moment with Betty Gilpin’s character, complete with a poignant kiss, turned into a heartbreaking scene where you sacrificed yourself to protect her. Can you share some insights about filming that? Well, it was the era we were portraying – 1857, a time of sheer survival and living moment to moment. Happy endings were rare in those days. In the scene just before the kiss, when she asked if you were sure you didn’t want to go to California, it was a man who simply couldn’t let go, finding it more natural to cling on rather than fantasize about a carefree life in California, hoping to strike gold and become wealthy.

In a heartfelt manner, I must say that Pete and I share an unwavering trust. One of the final scenes we filmed together was particularly poignant. Pete handed me a sick note, which he said, “Isaac, this character is a raw animal.” He explained how, in a wolf pack, one might leave and eventually perish. He yearned for that moment with Gilpin, but it was also about witnessing this character’s demise, grappling with the realization of crossing over, and yet still harboring fear of whether he had done enough to reunite with his family. That’s where the emotional core of the scene lies. Brett and Johnny operated two handheld cameras, capturing every moment as they followed closely behind me. Pete instructed me to end up at a certain rock, and we performed four or five takes. Such scenes are what acting is all about: striving for authenticity in every performance.

In a more conversational manner: Since you’re a photographer who loves wolves and we’ve been discussing the scene where wolves break into Devin and Two Moons’ cabin, let me rephrase it for you. Did the scene come across to you as if it was trying to portray wolves in a negative light?
To be honest, it seemed more like cinematic trickery to me. [Laughs.] By the way, I was out tracking wolves yesterday, though I didn’t manage to find them. However, I did come across some wolf tracks. Check this out. [Shows a photo of wolf pups on the wall.] This is a picture I took myself.

Was it The Bang Bang Club that initially sparked your passion for photography? That’s correct! At first, I was intrigued but felt somewhat overwhelmed, so I didn’t actively pursue it. However, come early February, I’ll be venturing to Patagonia with two of my closest friends. Our goal is to capture some stunning puma images. It offers a fantastic opportunity for adventure and creative freedom. I appreciate that aspect because no one dictates what I should photograph or how I should take it.

Regarding the wolf segment, I do recall participating in a cowboy camp and interacting with the 70/30 wolf-dog hybrids they kept. It’s amusing to think that, had they encountered the carcasses of animals that Isaac had hunted outside, they might have avoided breaking and entering.

I have to, of course, ask you about Friday Night Lights. 
Mm-hmm. I know.

Have you pondered over the possibility of portraying an opposing team’s coach in the upcoming reboot? If so, what would be your ideal storyline for Riggins?
Well, if it were up to me, I’d prefer a scenario where Rigs is divorced, possibly with one or two kids. It’d be interesting to explore his relationship with Billy. Things might not have worked out so well for him, but there aren’t many paths for Riggins. I believe he would probably end up coaching, still struggling with alcoholism in some way. He’s always been a complex character, and I think he’d make a good coach. Yet, I also imagine that Riggins might care too much about his role as a coach.

Hey there! I’ve been thinking, and it seems like you’ve hinted at wanting to star in a romantic comedy. Is there a particular romantic comedy that holds a special place for you or perhaps a specific storyline you’d be eager to explore? If given the chance, I could imagine myself doing a comedy alongside Danny McBride, something along the lines of “Eastbound and Down” would have been a riot. However, if we’re talking about a rom-com, it’d need to be opposite an exceptional actress. Are the Linklater ones you mentioned more romantic comedies? They seem less traditional with those long walk-and-talks, but they could offer something unique and interesting.

Talking about the Beyond trilogy, I don’t envision myself in a rush to prevent her from boarding a plane. [Laughs.] Instead, I’d probably let things be and say, “Well, I guess it’s time for me to move forward.” You’ll recognize when the moment comes. I’ve had a concussion from my last assignment, and a broken foot too. It feels like, “I need to rest my body here” since I’m quite battered. As we speak, I have a heating pad on my lower back. I’m rather tired.

Kitsch played cult leader David Koresh, who died in the controversial 1993 siege on the Branch Davidians’s Texas compound, in the miniseries Waco.
In American Primeval, one of the conflicts within the Shoshone community is between Winter Bird and her son Red Feather (Derek Hinkey), who has broken away from his family and is leading his own renegade band called the Wolf Clan. Winter Bird believes that Red Feather’s guerrilla warfare against the Mormons, settlers, and other white people in the Utah Territory has made the situation more dangerous for the rest of the Shoshone, and the pair’s arguments about tactics provide different Shoshone perspectives within the series.
A-camera operator Brett Hurd and camera operator John Garrett.
In the 2010 film, Kitsch played photojournalist Kevin Carter, who died by suicide in July 1994, months after winning a Pulitzer Prize for his feature photography coverage of the 1993 famine in Sudan.

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2025-01-23 21:54