Stories from the Bunkhouse (Ep. 15) | Yellowstone | Paramount Network

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- Keep your cattle on your side of the fence.
- You oughta tell your boy to watch the bass in his voice
when he speaks to me.
- When I was in high school my voice was super high.
It was like, "Hello."
And so when I would leave voice messages,
you would get this super energetic kid.
This (blabbers).
- I've seen the pictures of you.
- Wanna come over and play?
(blabbers) drink 7UP and Dr Pepper.
- It makes sense. - Obnoxious.
(energetic rock music)
- We've gotten to know this sort of bunkhouse OGs
from the beginning,
but it's so exciting to me to see Clint and Wade
introduced this season.
- You have permission to run them things here?
- Naw, I just decided today I'd run some buffalo
across the field for no reason.
- Boots Southerland, boy, is he a character.
You know how much of a character this dude is,
when he was coming on Forrie was like,
I'm not gonna do his voice, but he was like,
"Hey, there's a dude coming on set to play this guy
"and dude, he is a character.
"I know him from way back."
If you're saying it then this guy must be like--
- Yeah.
- He makes Forrie look like a kid.
(bell dinging)
We meet them on the fence line.
- We do, yeah.
- Look at these son of (beep) here.
- You meet bad buys and guys in the bar.
We're gonna beat up, we know they're not cool.
These guys just have a different tone about 'em.
- Because you don't know definitively
how far they're willing to go.
- Yeah, they're really dark.
- I'll blow your (beep) for brains all over this field.
- Yeah, send Colby and Ryan out
and chase off those two alley cats,
while I pull out my bat or do something like.
- Livestock association!
- Here's my badge, care about it.
- Scram, get outta here.
- I need proof that those are brucellosis free.
- Didn't go over so well.
- Be man enough, come and get it.
- Then I think it was Rip who came to the rescue.
- Cattle on your side of the fence.
(dramatic western music)
- You oughta tell your boy to watch the bass
in his voice when he speaks to me.
- I sorta keep my voice up here most of the time,
and then when I'm around Cole Hauser,
I try to kind of drop it down,
just sort of legitimize myself in his eyes.
So back up here with you guys,
hey, I feel comfortable, I'm at home.
I can really be myself.
This is what my voice really sounds like.
But as soon as I'm acting with Cole,
it's like, hey Rip.
You work at Yellowstone?
What's up, pard?
- So that would be adding or increasing bass level,
which he doesn't-- - Yeah, adding more bass.
- He sounds like he doesn't like that.
(object thwacking)
- You definitely don't want to talk lower than him,
you know? - Yeah.
- And I couldn't if I tried.
Physiologically I'm not capable.
- You're just not capable of doing it.
- How low can you go? - It's a chest cavity thing.
- You're trained vocally.
- Yeah. - What's your low note?
Give me a--
- This is probably be-- - See that?
- This is probably the lowest.
- That's not even in the audible spectrum.
I can't even hear that.
- This is what I sound like when I wake up in the morning.
- Dog whistle. - Yeah.
So that's the lowest.
That's why when I engage with Rip,
I don't even try to go down that path
because I think I would be on the train very quickly.
(fist thwacking)
(body crashing)
- 'Sup? - 'Sup?
- 'Sup? - 'Sup?
- 'Sup?
- Hey!
- [Both] 'Sup?
- Ah, what's up?
(horse snorting)
- What's up?
Hey there, Rip.
- I think with Rip,
he wants to feel like he's always respected.
We all know that there's a pecking order to anything
that you do and he's the top of the pecking order.
- You better hope I never see you again.
- I mean all the (beep) that Cole Hauser does,
I can do better than him.
But you learn over time to pay him the respect
of pretending you can. - 'Cause he deserves it.
He deserves to at least feel as though he's better.
- You know he's in the building, right?
- He's in the, which building?
- The, this one.
- The building that we're in now?
- Let me just.
(dramatic rock music)
(upbeat bluesy rock music)
- Have you figured out how to do this
without all of us getting trampled?
- Let's get up there as fast as we can
and just chase them son of a (beep) down a mountain.
- I think after three seasons of riding,
that's a moment where you are even like,
"Well, this is pretty phenomenal."
(horses stomping)
- I don't think it's been captured on film
that many horses being run--
- At all. - In that kind of 'scape.
I mean that's like some--
- [Denim] I mean you had hundreds of acres
of just wide open space and these beautiful horses.
- [Ian] People are gonna think maybe
that we fudged it somehow.
- Of course, but we didn't at all.
- No, no we didn't.
- All of those horses are real.
We're doing all of the riding in an element
that we are not even familiar with
because it's not like we're pushing cattle.
I've never pushed horses before.
The landscape and the beauty of it all,
and it's just again, it's something that you read
and you're like, "How are we gonna do this?"
You know what I mean?
And as an artist you're just like,
"Okay, there'll be a green screen.
"They'll do this or something."
But you're like, "No, no, no.
"What he wrote is what we're gonna do,"
and that's pretty fascinating.
- You know I got half a mind to run up that hill
and do it again.
(bluesy rock music)
- Hello? - Yes!
- Very nice to see you! - Good to see you!
- What did you all think it was going to be like
coming into this world?
Obviously at that point going into a third season,
which I think on any show is difficult
because things have already happened.
And now you're just coming into this brand new environment.
Please? - Eden?
- Eden Brolin?
(both laughing)
- I was a fan of the show, which is really exciting
because I got to go onto these sets
that I had been only seeing on TV.
Being like, "Oh my God, It's the Yellowstone barn
"with the Yellowstone sign."
And going into the bunkhouse for the first time,
walking in and being like, "Oh, I'm here.
"I'm in the bunkhouse."
- What was your audition process like?
- I put myself on tape and then I was in Ireland.
Got the job, came on home.
- Just like that?
- Yeah. - Just like that.
(all laughing)
- He was like, "Wow, really cool."
- I auditioned for Teeter
and then six months later or something,
Mia came in and easy as that, you know?
- Teeter has a sort of really exciting budding love interest
with Colby.
- You wanna backrub?
- I don't.
- Yes. - Would you say
that you were profoundly disappointed
when you found out that you
were gonna have a sort budding love interest with Jimmy?
(all laughing)
Would you characterize your experience
with that as profound disappointment?
- It was profound.
- (laughs) Cool.
- She'll just leave it at profound.
- That was kinda easy.
- No, it ain't supposed to be hard.
- I love what we do in the bunkhouse,
but to have this new dynamic coming in
and the way you guys just sort of Tasmanian devil through
and take over.
What were your thoughts coming in about how you
were gonna disrupt the masculine energy in there
and do your thing?
- The guys are gonna be back in a minute.
If they catch you drinking their beer,
they're gonna-- - Whoo!
I think more than anything it's just
honoring whatever Sheridan writes to the pages.
The juxtaposition of our wild carefree irreverent energy
with how serious and dropped in you guys are.
And kind of what an operation you guys have going.
I mean it makes for a really interesting dynamic, you know?
- We helped ourselves to your beer.
Hope you don't mind.
- Yeah, we can see.
- I feel like there's an implied culture
behind being a barrel racer,
which is more important than just riding the horse around.
For people that don't know, why are barrel racer girls
such a thing that we point out?
- [Eden] I'm a barrel racer,
so bad judgment's just part of the package.
- People that are familiar with the rodeo world
and that whole circuit,
barrel racers, they're kinda like rock stars, ya know?
They tour around the country,
they live out of these trailers.
They sleep in motels.
They're just trying to have a laugh
and a good time wherever they can.
- Or bunkhouses.
- Or bunkhouses.
- Hot bunking one might even say.
- Hot bunking. - Laramie (laughs).
- Just kidding.
I make no apology.
Are you too old to dance?
- There ain't a damn thing I'm too old to do.
- Was there anything from your everyday you
that you were able to bring to that,
or is it just something that was completely--
- Foul language.
- Different?
- Laramie's a real stretch, ya know?
She has a hard time with men.
She doesn't really (laughs).
No, I think it's great.
I grew up in Texas, I spent a lot of time on a ranch
and I grew up around a lot of cowboys.
So I have an easy time relating.
It's a fun place to play in.
- What would you say would be a highlight of season three
and what are you looking forward to the most in seeing?
- I think one of the highlights for me was day one,
because it wasn't everybody.
It was Jeff, Jake.
That day went so swimmingly.
It was so nice to have you around.
It was so nice that all the flag stuff
and the rodeo stuff worked.
I had the nervous jitters of the century
and we got to have a really, that was a really good day.
You are Jimmy Hurdstrom.
- I remember you talking about you were nervous to ride,
but then you rode so incredibly (laughs).
You were amazing with the flag and everything.
- Thank you. - That's some very difficult--
- Well, I remember too because they were trying
to get that light,
and so they were like, "Get on the horse and ride around!
"Here's your flag!"
And I was like, "Okay, I've never done this before!"
Then they were like, "We gotta get this shot, all right?"
They wanted like, "Let's go Yellowstone."
- Just do it.
(crowd cheering)
- All right, getting the mystery out
of the way right up front.
(Jimmy gasping)
- One of the first scenes that you all have
is that hospital scene.
- How's your pecker?
- Did they pitch you on that?
Like so by the way, here's where we're going?
- You get to see Jeff's naked butt.
Was the only reason why you said yes
'cause you could see his naked butt?
- That's it.
That was it. - All right.
We're good here.
She did it. - That's also why most
of the cast said yes to their roles.
- I did get a call from Taylor, I think,
if I'm remembering this right,
saying, "You have a pretty naughty scene."
You're not a virgin are you?
- What?
- Are you okay with that?
And I said, "Sure, I get to be on Yellowstone!
"Of course I'm okay with it."
I'll take my pants off for some Yellowstone.
(all laughing)
- How many wranglers does Yellowstone have?
- [Jimmy] 10 or 11.
- What do you think about the bunkhouse?
What kind of happens and how that changes
when Rip comes into the bunkhouse?
- Working with Cole for the first time,
he really is, again, having just watched the show
and having not much context for him except for Rip,
it's a little bit scary.
- What the (beep)?
- And then you get to know him and he's wonderful.
- And he comes in like he often does,
you know, bull in a China shop
and everything stops until he sees her.
And everything changes.
- We all see that moment when he sees Beth.
I think everybody goes, "Oh, that's sweet."
He's got a little thing
and he's not this scary dude anymore.
- I shoulda known it was you.
(driving rock music)
You wanna talk?
Not this one.
- A lot to say.
I'm just gonna start us off
about finally revealing the reason why Beth
hates Jamie with so much passion.
And I think the hardest part for Taylor in that
was to pick something that you could understand the level
of the vitriol that she has.
But also that he wouldn't be killed by John Dutton.
So it was such a fine line.
What could you do that would match those
that satisfies the audience on both sides?
- I think as fans of the show,
and as someone who's sort of been fascinated
with the relationship between Jamie and Beth
for three years now,
as the anger and tension between them escalated,
as Beth was stabbing Jamie underneath the table,
I remember over and over again us having these conversations
and being like, "This is crazy.
"What could it possibly be that would justify this level
"of vitriol that Beth feels towards Jamie
"that she's constantly antagonizing him?"
- I could use some advice.
- Oh my God.
You're pregnant.
- And then when we finally read that script
and not to say that you could ever understand that pain,
but all of a sudden it all just clicked.
It humanizes Beth
and Taylor doesn't write any one-dimensional characters.
But it's easy to write Beth off as an archetype
as she's the angry one.
(glass shattering)
And also through her relationship with Rip,
you see her painted in so many shades.
And what Kelly Reilly
has been doing since episode one of the show,
going back and watching
from the beginning with that context,
Kelly Reilly's performance is so layered.
She's an incredible actor.
- And then everything that you felt
about Jaime just changed.
- Someone will love you.
And you'll love somebody.
And I can't wait to take that from you.
- From the beginning you kind of felt like,
dang, she's just mad because he's a lawyer,
he does this and he's not as strong
as all of these other men that are in the family are.
So you felt bad for him.
(Beth laughing)
And then all of a sudden
when you find out this other information,
you're like, "Oh, there's a whole other side to you
"that you've also been running from as well,
"and also not acknowledging."
And so much of the arguments and the frustrations,
the time too where they're sitting in the car together
and they're driving having conversations.
- If hating me keeps you from hating yourself,
I'll be there for you, Beth.
- You want to go back and revisit these moments.
This is what they were both fighting against
and fighting for.
One is the needing to have the acknowledgement.
And the other one is doing everything that they can
to not acknowledge it.
- We're family.
- I love how people think that word entitles them
to absolution from the people who's lives they ruin.
- It's very personal.
All of a sudden you feel like very much like,
wow, I feel very involved.
- And you can see that he's also laboring under the shame
and the guilt of that trauma
that they both experienced as kids.
And Jamie was a kid when he made that terrible decision.
- Right, and he thought he was doing what was best
for her at the time.
And to also protect the family and protect the brand.
And I think that's where there's always that
walking the fine line of how much do you protect the family?
How much do you protect the brand
at the downfall of other people that are around you?
(dramatic orchestral music)