‘The Reek of Desperation’ Behind the Story | Yellowstone | Paramount Network

– Jaime you're not a politician, you reek of desperation and they can smell it.

(tense music) They will pull you, they will twist you, and they will tear you into tiny pieces.

– Jamie has a certainmoral code in a sense, usually to do with hisfamily and what you do to be a part of yourfamily and supportive.

And when Rainwater and thegovernor come with the idea of being funded by Thomas Rainwater, although in any legitimatesense it would be an okay thing to do since he has to fightfor his political life, and as important as that is to Jamie, this is the line because Rainwater, although he may be a good man, is an enemy to that family, there's a line there that Jamie just can't cross.

– Holding the office, requires honor, integrity, tempering every act with wisdom, running for office requiresnone of those things.

It is a zero sum game.

And winning is the onlything that matters.

– She wants Jamie on board.

It's a bit of a manipulation, but I do think she believes in Jamie.

– It's a moment where herealizes that if I do this I am forever out of my family.

And I don't think Jamie wantsto be out of the family.

– Unlike John and unlike Beth, he can be manipulated, you know, he's a bit of the outsider.

– I think it's an actuallyvery interesting moment for Jamie because we see although he does questionable things for the ranch and as a person himself, there is some sense of responsibility and I guess decency that he has, which, as Beth tells him, are all the qualities that would make him a terrible politician.

– The best politicians are narcissists.

The very best shouldprobably be committed, you aren't that.

– The Attorney Generalneeds to do my bidding.

So she wants him in that position, because it's somebody thatwill do what she needs to do to serve her purposes.

She knows how to get to him, she knows that he's practical, she knows he wants to do welland succeed in this world and this political world.

– The Dutton's have beeninvolved in this kind of thing, with who's who.

But there's pressurescoming on this Governor that didn't fall on previous governors.

So it's an interesting relationship.

– Politically I reallyso think that she thinks that he'll be great in that position.

But also she can control things a bit.

(soft music) – I remember when you were a rodeo queen.

Leading a parade on horsebackright past this place.

(laughs) – Yeah well, a long time ago.

– Yeah a long time ago.

– Wow okay, so now we know more about him and more about her and youget a sense of how long they've known each other andhow well they know each other.

– They're two people whohave this outward success, biggest ranch, governor, but are both bruised people.

– Again, like it's that danceof you know, well you did this so I have to do thatand I'm not backing down and I'm not backing down.

– What matters is youdon't fight me on this.

Or it's your opponent I chose next.

– And so the pact turns on itself.

But you know, they have thisnostalgia at the same time that happening an thena flirtation happening.

Even though it's kind of like this, somehow there's also, at the same time, the softness happening.

– Both of these peoplewith all their success, have been hurt and theyfind a measure of comfort pretty carnal if you will.

Both of them understand it perfectly, that it's not somethingthat's gonna be anything other than what it is, andeventually a relationship like that will tear anyway.

– Do you think you'llever fall in love again? – No.

– Me neither.

– We're screwed, are we? (laughs) – So Martin is Monica'sphysical therapist, he represents a sense of family for her something that she feels thatshe's really left behind.

– Ever been to an Indian relay race? – When I was young.

– That's my passion.

– Sounds like a good wayto need physical therapy.

(laughs) – Yeah, only if you fall off.

– He's so perceptive and really understand what's going on withher more than she does.

And I think Martin issuch a distraction for he.

– It's incredibly difficultand it's been very obvious in the scenes and how they all play out it take him like healing.

– Oh she's so in love with Casey but she really wants himto take responsibility for his actions and for their family.

She wants him to chose them.

(laughs) – But it becomes clear why that there is some distance between the two of them.

– You're working for your father.

– Well you told me to leave.

– Yeah, everyone keepstelling you to leave and you keep doing it.

What you're supposed to do is fight for the life that you want.

– That's not what you asked me to do.

– [Boy] Stop it.

– It's a difficult place for him to be in and why his dad isn't with us, or with him in the apartment.

You see that last seasontoo, that you have to choose a side which is hard in that his parents feel that way as well.

(dramatic music) – Well the Beck Brothersare an outfit I guess that you might consider mob-like.

– It's as if they come from aScorsese movie or something.

(laughs) They're really gangsters in a sense.

– Yeah they've come in andthey've raised the defcon level if you will.

– A 400 room hotel, 30 minutesfrom the national park, who the fuck, is Dan Jenkins? – When I was reading thecharacters in the script I said to Taylor, I said, I really like these guys.

And Taylor says, that's really troubling.

(laughs) – I love Neal and Jerry, God Neal is so scary.

(laughs) He plays such a great bad guy.

– It's great that Taylorwrites to both of us to have that as actors andcharacters in a play like this it's really fantastic, 'causeit always keeps it moving, it always keeps it different and fresh.

– I try to enter the picture, to have some influence, so at least get a big pieceof the pie if at all possible in the developments of thepartnership Dan and I have, the casinos, and they're very brutal, they're cold blooded, they're ruthless.

– I'm a business man, here's my business, let'splay by these rules, everyone is doing fine, let's not rock the boat, and then when the boat starts to rock, he starts to roll.

– The scene that comes tomind for me is I'm looking at this model, this beautifulmodel of this casino and hotel and these cars, and it's slightly childish on Dan Jenkins' part'cause he takes this car and he starts playing withit and these guys come in and he's slightly embarrassedand they compliment the model and then theystart playing with it.

– I suggest you find away to extricate yourself from this deal.

– And make a new deal with us.

Hell, we'd love to build a casino here.

– Which makes Dan completelycrazy, infuriates him.

You want to play dirty, here's my fucking dirty.

I smash the model, knowingthat these guys mean trouble.

(dramatic music) – You Jimmy? – I think Taylor has the gift as a writer, of dropping you in the middle of a story, not at the beginning.

My knowledge of Jimmy startseason one episode one, in the trailer when Rip comes to get him, we meet Jimmy in themiddle of his journey.

And to go back and sort of piece together where he comes from andwhat that life looked like is like a huge gift I think.

He comes from a dark place, right? Like the Yellowstone is a dark place, but for Jimmy it's a beacon of hope.

Which show you how, just exactlyhow dark Jimmy's past is.

I can't, I don't know how to swim man.

– Do you know how to shut the fuck up? He didn't ask you your opinion.

– The last thing he wants todo is to have this new life these new possibilities, this future that he's found be poisoned by his past.

– Look at this, Jimmy.

You pay me the money youowe me, motherfucker.

– And so to have thesecharacters from Jimmy's past nipping at the edges of his future, I think is a reallyterrifying thing for him.

– Go back inside.

– Once that Pandora's box is open, you can't close it again, he can't just pretend.

(smacks) Fuck you.

He can't go back to them, tolife before the hardware store to a certain extent.

– You got it, go here.

– Grunts.

– Your face away, that way.

– [Man] Three, two, one, get back.

(shouts) – Get out here.

– Jimmy close your eyes.

– Get out here.

(blasts) (shouts) – Go, go, go, go, go.

(dramatic music).

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