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Stories From the Bunkhouse (Ep. 3) | Yellowstone | Paramount Network

– Drive! (glass shattering) – Jimmy, close your eyes! (pepper spray hissing) – Ah, ah, what the.

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(guitar country music) – You're so dumb, it's almostattractive.

– Wait, really? – Understood attractive though, didn't ya? – How do you feel abouta girl in the bunkhouse? 'Cause it's different and so Iwas like, oh, there's gonna bea girl and I was like, oh, that's gonna be, is it? How do I feel about that? – I think it's great, I thinkthere's like a degree of– (laughing) There's a degree ofaccountability that brings, you know? I think the Bunkhousewill be a little tidier.

I think that sort of outsidepresence, makes everybody kindof button up a little.

– [Colby] Yeah.

– Maybe restore some boundariesthat may have eroded.

– And I think that there'san awesome opportunity, I think especially with thisshow to kind of have such a dynamicin difference as far as what you'rekind of used to seeing but it doesn't mean thata female can't come into that and effortlessly kind ofblend in.

And they're ridinghorses better than I am.

(laughing) No one is fighting and itreally, I think it was great.

It was just a breathof fresh air, I think.

– How do you feel aboutromance in the workplace? (laughing) – Any questions? You push 'em across the river and we can follow thecreek all the way up to– – Then we'd have to swim ahundred cows across the river.

– Cow's can swim.

– Yeah, I can't.

I dunno how to swim, man.

– Do you know how to shut thefuck up? – I think what's greatabout Rip's leadership is that he doesn't leaveany room for questioning.

He doesn't leave any room, forsort of independent thought.

– I ain't asking yourfucking permission Jimmy, I'm telling you, now let's go.

– You're not necessarilyexpected to think and that's, like, reallyliberating.

I think it's really liberatingto be told, where to go and what to do and you can be just bea cog in the machine.

And I think Kayce expectsa little bit more independent thought thatJimmy is not ready to give.

Argh.

Jimmy doesn't know enough aboutthis stuff to have an opinion aboutwhere he should go and why, so it's nice for Rip to sortof remove those variables.

– Jimmy, get on the quad.

– I think the opposite for Ryan.

I think when you have thatstructure, it doesn't let the individual beanything more than what they are, andthat's why the Ranch, maybe, has a high turnover ratebecause people come in, they can't move around, doanything and then they wanna leave.

And someone like Ryanneeds to excel and achieve, think more and that's why underKayce, he's more likely to advanceto contribute in new ways and become an asset that hethinks he can be to the ranch, because that's allowed.

– I think Colby probablyfalls somewhere in the middle.

I think that in his mindhe would like to think that he has opinions thathe would like to share.

But it's like, I mean, hell do I know, you know? Like you guys have beendoing it, it's worked.

When Kayce comes in I think thatit kind of brings this whole, like, do you know what you're talkingabout? Or do you not know whatyou're talking about? Because I don't want to feellike you are asking me how weshould attack the battle when you're leading the charge.

– Just tryin' to do itdifferent.

– Different never works.

– And Rip is just so matter offact.

– Get your asses out in thatfield and start movin' 'em cows up thecanyon, like he told ya, go on.

– You know, I don't evenhave an opportunity yourself to think, like even, the bulljust come into the bar thing.

(guitar chord) It's like clearly doesn't makeany sense but because there isn't, it'sjust like, open the gate, and you're like, okay.

They both can see wheretheir ideologies conflict with problem solving.

But I think I'm more of a Ripperson, 'cause I'm just, I don't wannathink.

– It's just like being an actor, right? Like sometimes it's reallynice for someone to say, “Hey, don't think about it, sitdown, you're gonna sit right there, and that's what's gonna happen.

” 'Cause sometimes they're like, “Where do you wanna sit?” – Yeah, that's what I wannado in my everyday life, I just want somebodyto call me on the phone and tell me exactly what to do.

Like, cause sometimesI just end up sitting, there doing nothing and Ijust need a micromanager.

– Yeah, exactly it's likesomebody tell me if– – So how can I hire Rip, is there a Rip hotline? (phone dialing) – Send Rip.

– You tell me what you needand I'll take care of it.

(alarm) – I think I get that alittle bit hangin' around with Cole Hauser too.

Like the beginning of the dayI'm like, “Um, excuse me, could I pleasebother you for, uh, coffee? Just whatever the easiestway to make it is.

” (laughing) And then you spend a day aroundCole and by the end of the day you'relike, “Hey, coffee! Didn't I say coffee, God damn!” (laughing) Like, by the end of theday around Cole Hauser, Cole Hauser just like, stickshis arm out and everybody's like, “What doeshe want? What is he asking for?” (laughing) – You feel more unfiltered because he's so confident.

– Yeah, and that's Cole too, and he steps into Rip so fully.

– So effortlessly.

– And he just lives that life.

– You can see that, you knowwhat I mean? Like it's infectious and Ithink that we all deep down, want to be able to be a Riptype.

And be able to be so assertivebut it's so, like, respected.

– And it's also the differencebetween Rip and John Dutton, right?- Right.

– 'Cause Rip will fuckin' yellat you 'til he gets what he wants.

– I'll fuck you all God damnday! – John Dutton will just say, “Okay”.

– Yeah.

– And he'll walk away andsomebody else will come in.

– And then you don't existanymore.

Yeah, you're one the train.

– One of the things peopledon't know about Cole so much, seeing his character, it's soconsistent and steady throughout the show, there's a little break withBeth, where he allows himself tosmile.

You can see what's underneath.

That is Cole most of the time, just smilin', easy breezy, he's like a teddy bear which people don't get tosee 'cause in a heartbeat, (guitar chord) you think he's gonna kill you.

– That's it right there, that's that look right there! – He just goes and your like, “Oh shit, what have I done?” – Oh my God!- Kid, come here.

– Get you're ass up here.

Get on the horse, Jimmy! Hey Jimmy, go 'head and put thatdown.

– One time, in between sceneswe're in between scenes, like, they're settin'up lights, Cole goes, “(whistling) Hey, Jeff, come here, get here!” I go over there and helike grabs me by the back of the neck and he pullsme in and I'm like, “Oh fuck, what is it, what did Ido? Is he, what's gonna happen?” He goes, “Did you seewhere they got the coffee? Where's the coffee at?” (laughing) “Cole, it's right over therebro.

” Like, the coffee tentis, like, the size of a– – Yeah, it's like the bat size.

– Yeah this guy.

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– He gets so immersed— And he's got ya by the neck.

– You listen, you tend tolisten.

It's, you know, and hegives you advice, you tend to be very present inthe advice that is given.

– Yes Cole, let me gograb that tent for you! I'm just gonna bring thewhole tent right here.

– You said you wanted allthe chairs in there, right? (laughing) Yeah, definitely, yeahI can grab that for you.

Hanging out with him outside ofit, it's like he's just, you know, he has such a great timewatching sports and stuff like that and justkinda shootin' it with him.

It's just crazy to seehim then step onto set and just like, (guitar chord) transform into somethingcompletely different.

– Put a little dirt in his beard and he uh— That's it, yeah, dye it down a little bit and it's just a whole differentworld which is insane, I mean it's great acting.

(guitar twanging).

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