Building a Universe - Taylor Sheridan and David C. Glasser

Summary

Podcast Summary: "Building a Universe - Taylor Sheridan and David C. Glasser"

The Yellowstone Official Podcast episode titled "Building a Universe - Taylor Sheridan and David C. Glasser," released on January 27, 2022, offers an in-depth exploration of the creative forces behind the expansive Yellowstone universe. Hosted by Jefferson White ("Jimmy") and Jen Landon ("Teeter"), this episode features exclusive interviews with Taylor Sheridan, the mastermind behind Yellowstone and its related series, and David C. Glasser, the esteemed executive producer of the Yellowstone world.

1. Introduction of Special Guests

The episode kicks off with Jefferson White expressing immense excitement about hosting Taylor Sheridan and David Glasser. He highlights Taylor's pivotal role in creating the Yellowstone universe and acknowledges David's indispensable contributions as an executive producer.

Notable Quote:

Jefferson White [00:07]: "I owe the best job of my life to these two guys, Taylor Sheridan and David Glasser, and I can't thank them enough."

2. The World of Yellowstone and 1883: Myth vs. Reality

A significant portion of the conversation delves into the thematic core of Yellowstone and its prequel, 1883. Taylor Sheridan discusses the delicate balance between the romanticized myth of the American West and its harsh, brutal realities. Both hosts and guests agree that this duality is central to the show's authenticity and depth.

Notable Quotes:

Taylor Sheridan [03:21]: "There's the myth of the west, the legend of the west, and the brutal truth of the west sort of hand in hand."

Jefferson White [04:06]: "The romance everyone understands... there's a romantic notion to going somewhere new and discovering some new place that holds this hopeful utopia."

3. Tradition, Codes, and the Rule of Law in the West

The discussion advances to the importance of tradition and the rule of law within the Yellowstone narrative. Sheridan and Glasser explore how characters grapple with maintaining their codes of conduct amidst changing societal norms and external pressures. This tension underscores many character-driven conflicts within the series.

Notable Quote:

Taylor Sheridan [07:44]: "There's like the contradictory and conflicting narratives to a certain extent and yeah, that confrontation between narrative and reality."

4. The Decline and Preservation of Western Horse Culture

Jefferson White introduces a critical topic: the declining state of the performance horse world post-2008 recession. Taylor Sheridan elaborates on the significance of horses in ranching and how their decline affects the broader Western lifestyle portrayed in Yellowstone. The conversation emphasizes the necessity of preserving this aspect of Western heritage.

Notable Quote:

Jefferson White [18:03]: "The performance horse world, it's a luxury now. There's people who make a living doing it..."

5. Casting and Discovering New Talent

David Glasser shares insights into the casting process, highlighting Taylor Sheridan's ability to identify and nurture new talent. He recounts instances of discovering actors who, despite being new to the Western genre, bring fresh perspectives and authenticity to their roles. This approach contributes to the show's dynamic and relatable characters.

Notable Quotes:

David Glasser [35:13]: "He sort of saw her... he knew she was the one who was going to tell this story."

Jefferson White [37:09]: "You have the incredible ability to write fun, captivating, exciting, beautiful things."

6. The Role of an Executive Producer: David Glasser's Insights

Glasser provides a comprehensive overview of his responsibilities as an executive producer. He emphasizes the collaborative nature of the role, managing budgets, locations, and team dynamics to ensure the seamless execution of Taylor Sheridan's vision. Glasser underscores the importance of teamwork and adaptability in bringing the Yellowstone universe to life.

Notable Quote:

David Glasser [24:11]: "It's everything that goes into it from making sure that we stay on budget, we get our locations, we get things done."

7. Filming Amid the Pandemic: Challenges and Community

The podcast addresses the unique challenges faced while filming during the COVID-19 pandemic. Taylor Sheridan and David Glasser discuss the measures taken to protect the cast and crew, including creating a bubble environment in Montana. This period not only ensured safety but also fostered a strong sense of community and camaraderie among everyone involved.

Notable Quotes:

David Glasser [45:19]: "We shot in a bubble and really protected ourselves and put ourselves back to work."

Taylor Sheridan [44:16]: "You brought us all back to work and you took care of us."

8. Conclusion and Final Thoughts

As the episode wraps up, both guests express gratitude for the collaborative efforts that make Yellowstone a standout series. They reflect on the show's impact, the importance of authenticity, and the ongoing dedication to preserving the Western legacy through compelling storytelling.

Notable Quote:

Taylor Sheridan [43:42]: "It's brutally honest... it's authentic and real."

Key Takeaways

• Authenticity in Storytelling: The Yellowstone universe thrives on the authentic portrayal of the American West, balancing its mythical allure with its stark realities.

• Importance of Tradition: Upholding traditional codes and the rule of law amidst modern challenges is a recurring theme that drives character development and plot progression.

• Preservation of Western Culture: There's a conscious effort to preserve elements like horse culture, which are integral to the Western lifestyle depicted in the series.

• Collaborative Production: Success stems from a cohesive team effort, with executive producers like David Glasser playing a pivotal role in managing and executing the creative vision.

• Adaptability During Challenges: The production's ability to adapt and maintain safety during the pandemic highlights the resilience and dedication of the Yellowstone team.

Notable Moments

• Taylor Sheridan's Reflection on Myth vs. Reality [03:21]: Sheridan articulates the show's fundamental exploration of the American West's dual nature.

• Discussion on Horse Culture Decline [18:03]: The conversation emphasizes the socio-economic factors impacting horse-related industries, reflecting broader themes of change and preservation.

• Insights into Casting Process [35:13]: Glasser shares the meticulous and intuitive approach to casting, ensuring that each actor aligns with the show's authentic vision.

• Filming During COVID-19 [45:19]: The guests discuss the implementation of safety protocols and the establishment of a protective bubble, underscoring the production's commitment to its team.

Final Thoughts

This episode of The Yellowstone Official Podcast provides listeners with a rich, behind-the-scenes look at the creative and production processes that sustain the Yellowstone universe. Through thoughtful discussions with Taylor Sheridan and David C. Glasser, the podcast illuminates the intricate balance of storytelling, tradition, and teamwork that defines one of television's most beloved Western sagas.

Transcript

[Jefferson White]

Hey, it's me again. It's Jefferson White with a very special episode of the official Yellowstone Podcast, presented by Wynn Las Vegas. I woke up this morning extremely excited about today's show. You know, I didn't expect to get much sleep last night because I was so excited. However, the beds here, extremely comfortable. They have these very, very fancy shades that sort of block out all of the light of the Strip. So I slept like a baby. And I'm very grateful because this is a huge, huge day for me today. I get to sit down with the brains behind the entire world of Yellowstone. You've heard this man's name over and over again. If you've been listening to this podcast, if you've ever had a chance to talk to the cast of Yellowstone, you hear the name Taylor Sheridan over and over and over again because honestly, this whole thing, this whole show, this whole universe, this whole world comes from Taylor. Taylor is the mastermind, the genius, the brilliant creator, writer, director, cowboy, kind of the maestro behind Yellowstone. He's also my boss. He gave me the best job I've ever had in my life. He's been my boss for years now. So you can imagine how nervous I am to sit down and talk with with my boss to interview my own boss. So, you know, pray for me. Wish me luck. I'm also going to be spending time with the superstar executive producer of the Yellowstone World, David Glasser, another man without whom none of this would be possible. I owe the best job of my life to these two guys, Taylor Sherrod and David Glasser, and I can't thank them enough. We're going to dive right in right after this.

[Taylor Sheridan]

I feel incredibly honored, incredibly lucky to have with us in the studio today the busiest man in Hollywood who never sets foot in Hollywood, a guy who I think his work is honestly characterized by staying too busy to talk about it much so. Taylor Sheridan, the creator of Yellowstone, the creator of 1883, mayor of Kingstown, and many, many, many more facets of a vast empire. Thank you so, so, so much for being here today.

[Jimmy]

How'd you get this job?

[Taylor Sheridan]

Great question. I thought I was actually gonna ask you that question, boss. How did I get this job?

[Jimmy]

I said, who's doing the podcast? They said, Jefferson. And I said, who?

[Taylor Sheridan]

Yeah, yeah, yeah.

[Jimmy]

And this is Jimmy. And I said, oh, Jimmy. Did Jimmy get a podcast? You have your own podcast?

[Taylor Sheridan]

Yeah, that's right. I was talking to Eric Nelson the other day, and he said we should send a picture of us to Taylor. And I say, he's. He's not going to recognize me. That's a busy man.

[Jimmy]

Hey, so you were in. You were in Fort Worth a week ago for the celebrity cutting for the Carrity, the cancer charity.

[Taylor Sheridan]

That's right.

[Jimmy]

Which they do every year. Which you won two years in a row now.

[Taylor Sheridan]

That's right. Well, the trick is that I won when this year I won because you weren't writing and Nick wasn't writing and Nick won the year that I didn't ride. So this year I lucked out.

[Jimmy]

No, you got a buckle two years in a row.

[Taylor Sheridan]

Yeah, 2019 and 2021. And Nick won in between because you were busy making maybe the biggest television show in history.

[Jimmy]

Well, you know, maybe the most expensive.

[David Glasser]

How does it.

[Taylor Sheridan]

This is. I've seen the first two episodes of 1883. And the thing that I think that you do that nobody else can do is hold these two seemingly contradictory things at the same time, which is the myth of the west, the legend of the west, and the brutal truth of the west sort of hand in hand. That's something that, to me, characterizes Yellowstone and very much characterizes 1883. There's the myth and there's the reality like nobody else can do it. Will you talk just a little bit about those two extremes, the romantic idea of the west and the brutal truth of the West?

[Jimmy]

Well, the romance everyone understands. We were taught it in schools and we've seen it in movies and TVs since movies and TV shows were made. And there is a romance to it. There's a romantic notion to going somewhere new and discovering some new place that holds this hopeful utopia. The reality is there were other people already living there that. That really didn't want anyone else to come there because they were there and they'd been pushed there. So, you know, if you're really going to. And then that doesn't mean that there weren't heroes that went west. That doesn't mean there weren't heroes that defied those who went west. But to really understand our history, you have to be willing to look at all of it and not blanketly say this whole group over here were victimized. This whole group over here were oppressors. It's just not true. There were extremely desperate poor people in Central Europe and Eastern Europe and in the United States that were sold a lie, that this land was open and free and they were desperate and sought it. So they bought the lie and then they went west. And by the time they realized it was not the truth, there was no turning back.

[Taylor Sheridan]

And I feel like that contradiction is very present in characters in 1883. So there's Sam Elliott's character Shay, who has seen, who has confronted this terrible truth to a certain extent and kind of carries it with him everywhere he goes. It feels like it haunts him. And then there's Isabelle's character, who is so new to this world and sees it as that romantic idea. And then it feels to a certain extent as though the show is the process of her learning the terrible truth. It's this slow process of being confronted with the brutal reality of what it takes to make that dream come true.

[Jimmy]

Yeah, yeah, to A degree, yes, 100%. And she learns a lot more. It's really, it was very interesting to tell the story of moving into an unknown place through the coming of age of a young woman and getting to, you know, the further west you go, there is no rule of law. So all of the social convictions and moral codes and customs that help keep us in line don't exist. And what happens when that happens? Incredibly beautiful things happen and horrific things happen. In Yellowstone you have a group that is attempting to hold onto a code that they've lived by for a long time as other people without a code come in, or at least without their code. So they have similarities. I wonder if you picked up on any of the subliminal connections between the two.

[Taylor Sheridan]

I'm fascinated to keep uncovering those. And I feel like thematically I see these sort of themes throughout a lot of your work.

[Jimmy]

Right.

[Taylor Sheridan]

There's like the narrative, like the contradictory and conflicting narratives to a certain extent and yeah, that confrontation between narrative and reality. And I think as you articulated a minute ago, the incompatibility of well meaning people with codes that they truly believe in and seek to honor. You can have good people really trying their best to protect their families and those can come into conflict with each other and be mutually exclusive to a certain extent.

[Jimmy]

Yeah, yeah, I agree.

[Taylor Sheridan]

And it's amazing. I mean just embodied also those contradictions, you know, not to sort of obviously be a sort of dollar store a dramaturg here, but the sort of Sam Elliott is theoretically to John Dutton, this sort of world weary soldier who has sort of seen this code be tested and sort of fail, has fought through its failure many times and become exhausted.

[Jimmy]

He lost everything. He fought for. So what do you fight for when you've lost everything?

[Taylor Sheridan]

And I guess, yeah, then being presented with this new hope to a certain extent in the eyes of young people, of people who haven't had the same sort of, you know, traumatic Experiences over and over again over the course of a long and painful life. And I especially. Then there's this middle generation in 1883 that maybe sort of lines up with Cayce's journey in Yellowstone to a certain extent. So James Dutton's experience in 1883 of having lived one life, having seen terrible things, but still having enough left to try for something better, to try to sort of escape the cycle of violence that he was exposed to in the Civil War and to seek freedom from that cycle.

[Jimmy]

Yeah. His venture west is a complete rejection of the society that he lived in. It's a refusal to even be a part of it anymore. So he went to a place society doesn't exist.

[Taylor Sheridan]

And that's fascinating. Then also sort of embodied in the contradiction between his wife's character, obviously, Margaret Dutton, and her sister, who have these sort of different relationships to that society. Right. Different ideas, 100% different carryovers from that society, society of how a woman is supposed to be, of what her role ought to be in society. And then how Isabel May's character is also coming into conflict with that and figuring out for herself what her role can be here versus what it was in the life she knew before.

[Jimmy]

100%, no. She's going to a place to where all of the restrictions that existed to control everyone, to control women, to control people who didn't own land, to control people who weren't in power, they don't exist. And you get to decide. You get to decide who you are and how you live, and no rule controls you. The flip side of that coin is no rule controls anyone else out there, too. So long time ago, million years ago, whenever 3 million years ago, there were no rules. People took what they wanted to take when they wanted it. If they were strong enough to do it, they got it. If they weren't, they lost it. And as society grew, as people stopped running around and chasing food and started growing it more, we all had to live together in this place, and we had to figure out rules of some form. Right? Now, some people figuring out rules figured out rules to control others to get more stuff. Some figured out rules to try and make this little tribe work better. And it's been the same throughout history. And it's not unique to the United States or Europe or Asia or Africa or South America. It is human nature, and it exists anywhere we go. If we go to Mars and someone sets up a village in Mars, they better make some rules. Or somebody who doesn't respect rules, and that person's still gonna cause problems. But now, at least we have rules to control them. Or maybe someone's gonna go to Mars and set up a lot of rules that make sure he's the king of Mars.

[Taylor Sheridan]

That theme feels like it's present through all of your work, effectively, that idea of codes, rules, trying to establish a system, whether it be through a state institution, you know, whether it be through, like, actual legal pathways or a kind of paralegal system code. You know, in the case of the characters of Mayor of Kingstown or of the Duttons, obviously their code is sort of legal adjacent. But obviously also breaks the law consistently. That feels like a theme that sort of resonates throughout all of your work.

[Jimmy]

To me, it's the most important theme, and we have not mastered it. Right. The rule of law and the laws of nature. We're bound by the laws of nature. There's nothing we can do about that. So we've created a rule of law to govern ourselves. And you're seeing right now an erosion in the rule of law in this country. And as a result of that, you are seeing the laws of nature play out.

[Taylor Sheridan]

And the sort of simultaneous, as you articulated earlier, the beauty and possibility of freedom, the sort of ideal, the kind of paradise that freedom can represent and the hell that freedom can represent. The sort of brutal reality, the most brutal truth. And especially in the very first moments of 1883. The way the whole series is framed, I think, is fascinating. In the first sequence, she describes it as hell. She describes this west, this wild place, this place outside of the parameters of polite society, as hell. And then the next time we see her, it's heaven. It's heaven. Exactly. Yeah.

[Jimmy]

And that's. And that's. Look, we're in Las Vegas, okay? Someone right out there, right now just won hundreds of thousands of dollars. And he thinks this. This is the greatest place on Earth. Two craps tables over, someone just lost their mortgage. He thinks this is the worst place on earth. What's different? The way they interacted with it. That's it.

[Taylor Sheridan]

So as you seek. As you seek.

[Jimmy]

And I don't know if gambling is the best metaphor for that, right, because we're adding a certain element of luck. But there's a lot of luck to life. There's a lot of luck to life. Now, you make a lot of really bad choices, you're going to find yourself usually having bad luck. You make a lot of good choices, you're going to find yourself having a lot more good luck, right? But we all know pretty bad people who have gotten real lucky. And I know some really good people who've been really unlucky as you. So.

[Taylor Sheridan]

As you.

[Jimmy]

Why is this so deep? Jimmy? I thought we were going to talk about, like, the horses.

[Taylor Sheridan]

Well, this is the thing. This is the thing that I think. I think is incredibly unique to you. There's a lot about the way that you write that I don't think anybody else does. And I think that that is, in part, what I respond to in your writing. It feels like there's an unflinching honesty and an unflinching willingness to confront some of the ugliest and most hideous contradictions of life. Of, like, life at its sort of. At its most fundamental, you know? And then also on the other side of that, what's amazing is you also have the incredible ability to write fun, captivating, exciting, beautiful things. And I think that's a very difficult thing. So I guess I'm curious also, as you seek to make these things as you. In your life, the myth of your life, the narrative of your life, as you continue to explore that and live it out, will you talk to me about the experience of reconciling your work, sort of staring into the abyss, as it were, with your work? Staring into Eden, staring into paradise.

[Jimmy]

Is there a question in there?

[Taylor Sheridan]

Barely. Barely, boss.

[Jimmy]

What the fuck was that?

[Taylor Sheridan]

Listen. You got me trying to sound smart. Listen. On Yellowstone, John Dutton is exploring a lot of different options to sort of economically save the ranch. And I look at you as a man who is an advocate for the Western world, is a sort of diplomat on behalf of the Western world to a certain extent, and explores a lot of different avenues to continue to economically reinvigorate the Western world. Will you talk about some projects that you're working on that you're excited about?

[Jimmy]

Well, this beast right here has kind of consumed me for the past nine months. So I don't. Beyond this, I don't know what project's next. I haven't seen my mail since April. But I try to be an advocate for the West. I grew up in it. It's an incredible place. And it's changing. Like everything changes. But we try to control the change, we try to mitigate the change. You live in New York, which is a great city, and it's frustrating, though, to watch Manhattan become. Because I lived in New York in the 90s, to watch Manhattan become this theme park of itself to a certain degree, with these massive, expensive department stores and in all the neighborhoods. Last time I was there, it's been a few years, but all the mom and pop. Oh, this great little diner over here and this little cafe here and this place, they're all gone because they can't afford the rent. No one could say that. Well, they can't say it right now, but prior to Covid, they could say, well, the crimes. There's no crime in. It's so clean, it's so great. And there's so many great restaurants that no one can afford to go to. And there's no. And there's. But the city. It's not the city that we all grew up to, the city we all. In my youth, when I was there, in my early 20s. And you're there now. It's in Brooklyn. It's migrated, right? Well, the west can't migrate. You build these places up, then that's what they are, right? And whether we like it or not, we got to get our food from somewhere. And every empire falls when they start importing it. When you do not control your own food source, you are no longer an empire. You are buying your food from the next empire.

[Taylor Sheridan]

Speaking of empires, right. The sort of horse world and the horse training sort of legacy, history, tradition, culture. Will you talk a little bit about that? That's something that's been increasingly explored in Yellowstone Season 4, as John Dutton and the Yellowstone sort of get into that game. Will you talk about your own experience in that world?

[Jimmy]

Well, I grew up in it. And. And it's. And it was a dying. It was dying after the recession of 2008, because the performance horse world, it's a luxury now. There's people who make a living doing it, and you've met a lot of them, whether they're horse breeders or horse trainers or veterinarians who work in the performance horse world that are specialists, like basically sports medicine, doctors for horses. But it's a luxury to own one and go show it on the weekend. Not unlike people who own racehorses, right? It's the racehorse trainer's job, it's the jockey's job, it's the exerciser's job and the groomer's job, but it's not the owner's job. Owner owns some big stinking company somewhere, right? And if the stock market crashes, he may have to sell his racehorse and so will all the others. But what. And the same thing is true in cutting or reining or cow horse. But what happens is when that business isn't thriving and it starts to restrict the horses that get bred and the babies that you have, you start to see the quality of horse across the country. Dip. Because people are not as invigorated to explore as they're breeding these animals and making more horses. The more people who are in the horse business, the more horses you need, the more horses are bred not to the same horse. And the hybrid vigor of that makes a better horse population. Better horses for the cowboys down the street. Better horses for the little girl that's going to go barrel race or pole bend or do any kind of versatility events. So it improves the whole industry. And there's still no better way, safer and easier on the cattle way to work cattle than horses. You can't work them on dirt bikes. Dogs are too rough on them. They don't mind horses. And they move away from them when you go toward them. And that's how you move them around. They're not stressed by it. So I really wanted to. And that's one of the reasons I wrote Yellowstone, because this whole way of life after that recession was crashing and all these generational ranches and that sounds like this big rich term, but it's not. It's somebody 80 years ago, 90 years ago, bought a bunch of real cheap land that's pretty useless for anything but running cattle because if you could farm it, you would. And they made a living selling cows. Not a lot of them. You don't make very good money at it. And the land values kept going up and up and up and up and up until when they died and their kids inherited it, they couldn't afford the taxes, so they have to sell it. So then some guy from Chicago who went skiing there a few years ago, man, I sure would love a place to go out in the weekend, prank my family, go skiing. So it gets carved up and developed and gentrified. And then they have that now it's a free country. Right. So who's to say the guy in Chicago can't or shouldn't be able to buy a place out in Montana or Wyoming? Well, no, he should, but I'm trying to encourage him to not carve it up. I'm not saying you have to run cattle out there, but how about you just go experience it? How about we preserve it because they make it any more. We have not figured out how to make more land and we never will.

[Taylor Sheridan]

And that feels like. Yeah, I mean, an extension of your respect for this history. Right. You as a remarkable historian to a certain extent of this world. And it's an incredibly exciting thing for me as a fan of Yellowstone, for you to explore that history very literally. With 1883 to step into that history. So I'm getting a signal that I think we're out of time. Thank you so, so, so much for doing this. It's an honor to, as always, continue to learn from you. I'm incredibly grateful for four and a half, five years of learning from you now. And I just, I can't thank you enough for the many ways in which you've changed my life. So thank you very much.

[Jimmy]

Well, thank you. Thank you for that.

[Jefferson White]

I can't thank Taylor enough for stopping by today. That man's time is very, very valuable and I'm grateful for every second of it I get every time I talk to him. I learn so much. I look up to Taylor so much. I've been learning from him for years, and every minute with him is a masterclass. So I'm very, very grateful. I need to take a quick break. When we come back, we're going to continue to talk behind the scenes with executive producer David Glasser.

[Taylor Sheridan]

I feel so lucky, so humbled, so grateful to have today in the studio with me. David Glasser. David Glasser is an executive producer of Yellowstone of 1883 of a million other television projects in the Taylor Sheridan universe and Beyond. He's the CEO of 101 Studios. David, thank you so, so, so much for being here today.

[David Glasser]

Thanks so much, my friend. Thanks for having me.

[Taylor Sheridan]

It's such an honor. And simultaneously, a terrifying pressure to interview.

[Jefferson White]

Your boss's boss's boss's boss's boss.

[David Glasser]

So, no, it's all good, man. I could not be more excited to be here and so proud of everything you're doing. And, you know, this journey we've been on from the beginning has been incredible, man. And right back at you. I could not be more proud of you, man. Everything you're doing, the character, you know, everything you've taken us on and this show right here, you know, sitting here at the Wynn Hotel doing a podcast on a Saturday afternoon couldn't be a better day.

[Taylor Sheridan]

I think it really speaks to something that sort of strikes me over and over again. And for folks listening who don't necessarily understand the role of a producer, a producer means a lot of different things in a lot of different situations, basically. So will you talk for just a second about your. And it's hard to talk about because it means so many different things. And you particularly, more than anybody I've ever known, fill a lot of different roles under a lot of different circumstances. Will you just talk a little bit about your role in all of this?

[David Glasser]

Yeah, you know, it's look, it's an incredible and very humbling opportunity to get. Cause when you have a creator like Taylor Sheridan, he's a big picture visionary, right? He's got this huge idea, he's got this incredible cast. And then my job is to make sure that we execute upon that, right? So it's everything that goes into it from making sure that we stay on budget, we get our locations, we get things done. You know, the sort of relationship with the network and sort of just spinning plates and managing it all. So at the end of the day, what everybody gets to see, this incredible number one show now comes with sort of being part of this team. And it's really a team effort, right? It takes a village to do what we do. And it doesn't matter whether you're at the top of the food chain or a PA on our set, you know, you've been there, and working on a Taylor Sheridan show, it's not about I. It's about we and it's not about me. And it's about how do we do things as a team. And that's the really, I think, the great thing. And so I'm super lucky to be part of that. And as you know, every time we get one of these scripts, it's like, you know, the greatest day of my life. It's like I'm working on some of the greatest material I've ever read.

[Taylor Sheridan]

Well, as you described, so much of it is a team effort. It's about an ensemble of collaborators. And one of your roles particularly is assembling that team, is taking these elements, these elements that can seem sometimes almost irreconcilably far apart, right? The world of cowboying all these horses, right? Like putting together all of these cows, these cattle, with these helicopters, with these legendary actors, with these incredible technicians in our camera department. It feels like one of the unique challenges of Yellowstone is a assembling a lot of different elements that don't traditionally fit together. And it feels like part of people's response to Yellowstone is about these things, is seeing these elements combined on television for the first time on a scale that wasn't possible until you started doing it.

[David Glasser]

Well, look, that's the exciting part about it. As a producer, you get to do different things, right? You almost get to make yourself up as a completely different person as you sort of go forward. You know, it was a world that I didn't know. And with Taylor Sheridan, as you know, you get a very quick education on what to do, what not to do, and where are the Pitfalls, you know, he is the expert when it comes to the cows, the cattle. My job is to make sure that everything is getting there, gets done when it is. But listen, I've. I've. I've learned the world. I've learned to actually respect the world at the highest level because it's truly incredible. I love our wranglers and our cowboys and the people that I've met both on the show and off the show. And even in one late night, maybe slightly drinky night with Taylor, I ended up buying a cutting horse, which we now own. So we now own a cutting horse. And I think, you know, it was great because we made it to Futurity on the first time. So it was like. It was great because I really thought I actually knew what I was doing. But it was a little bit of luck. But, you know, it's one of those things where I think as you sort of, you know, as, you know, you get into a new world like this, it's all brand new. And so I think sort of watching Taylor's lead and following it and sort of figuring out, okay, what does he need? How are we going to do it and how we're going to execute what he wants. And that's the job, right? And we've learned so much now. We're now, you know, not everybody is a. Is a cutting champion like you, my friend, after last week at the, at the Carrity event. So, you know, don't, don't worry. We all know where you're going in your cutting career.

[Taylor Sheridan]

I thank you so much. You were contractually obligated to mention that, and I thank you for obliging that contract.

[David Glasser]

Well, as Sheridan's will be very happy.

[Taylor Sheridan]

As I, as I talk to all the different actors and sort of crew involved in these shows, something that comes up over and over again is the immersive quality not just of the content itself, not just of the show, but also the experience of working on the show. Working on these shows means being fully immersed in a world that is new to a lot of us, right? For us, it means being in Montana. It means being in West Tess, being in West Texas, being surrounded by the world even as you create it. So will you speak about your experience also of traveling with these shows, of really being immersed in these worlds?

[David Glasser]

Look, I think, you know, starting with cowboy camp, that most people, when I explain what cowboy camp is, it's sort of Taylor's version of, you know, leaving the city behind, getting out there and sort of being one with the world. So you really understand it for you as an actor, but even for us producers and partners on the show. So sort of everybody can sort of do what they can. But I think the experience is part of what I think makes the show what it is. We're all out there, right on. On. On Yellowstone. We're out on that ranch or in those fields, you know, deep in those fields on a daily basis, working together. You know, we're not in. We're not on a stage somewhere. You know, very, very little of that. And in 1883, that journey was. Was. Was something that was. Was definitely something I don't think I was ready for. I think even for Taylor, he was ready for it. He warned us what it was going to be. But taking a wagon train in the 1800 show, with 30 wagon trains across America is pretty spectacular. And there's no cover sets. We maybe had a few days of COVID sets, and a cover set is a place you can go to when it rains, when it snows, when it's 98 degrees outside. Once we got outside of Fort Worth, that was it. We were open to everything. And so, in a way, it sort of felt like you were connected to maybe what people went through at that time, and they had such a harsher journey than we had, you know, crossing rivers, surviving to sort of make something better for your family. So in a weird way, you had a moment to sort of think and go, wow, this is. We're sort of out in the open here, just trying to figure it all out.

[Taylor Sheridan]

Yeah. I think that a lot of what people respond to, what I respond to when I see the show, especially as I watch 1883, is this incredible feeling of authenticity that can't help. It's a part of the product because it's a part of the process. It really. The process of making the show mirrors the experience that you're depicting on the show. You're taking a bunch of people from all over the world, incredible people with varied and diverse skill sets and backgrounds, many of them who have never set foot in West Texas before, and then many of them who have. Who grew up there and who are experts in this world, and you're cooperating together on this journey that lasts for months and months and is arduous and taxing and difficult, and that. That bleeds into every frame of the show.

[David Glasser]

Yeah, And I think that was the incredible part. And I think you really. You and your character symbolized it last year with the journey to the 6666. You know, one of the most authentic storied ranches in the world since the 1800s. I mean, you know, and the way Taylor sort of blended that into our sort of not real ranch world of Yellowstone, which is, you know, real world for tv, and sort of taking Jimmy's character to one of the most authentic ranches in America.

[Taylor Sheridan]

Yeah, it's amazing. You know, there are those of us. And one of the incredible gifts of the show is that for every actor from Los Angeles, there's a cowboy from New Mexico. And for every, you know, rancher from Montana, there's, you know, a stunt coordinator from the East Coast. You know, there's this sort of incredible combination. And one of the tremendous gifts of our show has been watching so many people run at these new challenges, these challenges that are utterly unique. Kind of over and over again, with tremendous respect for the material, with a tremendous sort of trust and commitment to each other. Because part of what you described earlier, putting this team together, you guys are now. You've made. And you are making shows with this core group of collaborators from different backgrounds, different skill sets, who have grown to trust each other over time. How do you. Over and over again, just as a fan of your work, of Taylor's work, you attract the best actors in the world. Like, it's amazing. For me, my favorite actors who I've followed since I was a kid, Billy Bob Thornton, Aiden Gillan, obviously Sam Elliott, obviously Kevin Costner. A combination of the most interesting and sort of storied actors. It's amazing. They trust you, and when they join this kind of project, they're putting a lot of faith in you.

[David Glasser]

Yeah, look, I think. Look, everything at the end of the day, and, you know, this being the incredible actor that you are, it all starts with the material, right? Material is the basis for everything. If you're gonna build a house, it's your foundation. It's everything, right? What you do inside of it, whether that's, you know, whether that is, you know, a different type of counter, marble or granite. Whatever you do inside the house to sort of build it is something that you do in what you do. And so I think always everything starts with the material. And with Taylor's material. It is something, as you know, it attracts incredible different people who want to come work on it. And also, you have this incredible time with Taylor. Be like, I was thinking about Billy Bob Thornton for that role, and I'm like, all right, let me call his manager. And, like, you send over. And he goes, yes. Or you go, like, I'm thinking about Tom Hanks for that role. And you, like, call Tommy, like, reads it and goes, okay. You know, it's like unbelievable. Like, so I think it's his material. I have to give the credit rightfully due. It's like his material is just something that everybody wants to come play a day, two days, five days, and to be part of. I mean, that's probably one of the most exciting things for me because when he wrote the role, he was like, I think I want Sam Elliott. And I'm like, yeah, okay. Well, I'd score major points in my house with my wife if we had Sam Elliott, but I would love to work with Sam Elliott. And then Sam reads it and is like, yes. So I think his material is something that's fresh, it's original, it's different, and it's a world we don't get to see every day.

[Taylor Sheridan]

And it has the gift of. And I think you guys balance this so remarkably well. Combining these actors. You know, one of the themes of a lot of Taylor's work is the American west and the sort of myth of the American west, the legend of the American west coming into confrontation with the reality, the harsh truth of the American west, you know, the myth and reality colliding into each other. When I look at the cast of 1883, Sam Elliott, of course, American legend, a myth unto himself. And then young actors, right? And combining Sam Elliott's experience, expertise, a lifetime in the west with Isabel May, right, an actor new to this world who brings something utterly distinct and unique to it because she's new to it, right? So will you talk a little bit about discovering new talent or bringing on young actors into these projects?

[David Glasser]

Look, that's always the thing, right? And Taylor and I have that conversation always. He sort of feels if he's going to bring some to the table, whether it's Isabel May or Emma Laird or people that he's sort of discovering, he'll see somebody, you know, like he did with Isabel. He hadn't really figured out and shaped the role yet. He knew what it was going to be, but the minute he saw her, he knew she was the one. She was the one who was going to tell this story. And he was going to sort of turn the traditional Western on its head a little bit with this sort of point of view through an 18 year old's eyes, you know, going through sort of just becoming a woman and sort of finding herself as well as trying to protect her family. So I think the interesting thing about it is, is, you know, because of his sort of background in being an actor, he sort of finds this way, and we'll sort of have a conversation about finding somebody fresh and new that we don't know yet and that we get to sort of experience things. And I think when you watch Isabel, I even feel even five and ten times seeing a cut of something. I'm sort of discovering it with her. I don't know her. I mean, I know her personally, but I don't know her as her character. I'm sort of sold on who she is and what she's going to be. And I'm sort of following her on our journey. If she's feeling pain, I'm sort of feeling a little bit too. If she's feeling. Laughter, I'm feeling that. So I think that's the great part about it. Right. You know, you with Jimmy, I remember when we were looking early on at reading for it, and you sort of. I'll never forget the sort of reading you did in the chair, if you remember it. And, you know, the minute Taylor saw it, he was like that guy. He's. He's got what I'm looking for. And sometimes I don't always get it, but Taylor sort of has this way. He knows he can look in sort of the eyes, the face, the sort of character, and he knows that that's who I want Jimmy to be or that's who I want this character to be. That's a talent. You know, at that point, it becomes much easier because I think then audiences get to discover somebody new and be part of, like, discovering them.

[Taylor Sheridan]

Yeah. And it's a real. It's a real gift. And on the opposite side of the spectrum, it's the same gift. It's saying, who could possibly fill the roles of these walking legends, right? Kevin Costner and John Dutton feel so synonymous in many ways. It's hard to conceive of anybody else playing that role because the character is himself a legend. He's a legend who carries a tremendous weight on his shoulders that everybody respects and has a sort of wary kind of relationship to. And that couldn't be anybody but Kevin. And I think that's on the opposite side of the spectrum. The incredible gift of excellent casting. I can't help but sort of, like, glean a worldview from a lot of Taylor's work. And I think it relates in a lot of ways to those. That juxtaposition, right? The extremity, there's the beauty, sort of big scale, epic. The incredible action sequences. And then there's this incredible human, simple, quiet intimacy. And Taylor himself has an incredibly holistic approach to filmmaking. He's an amazing actor. He's an amazing writer. He's an amazing director. He knows everything about the camera department. He knows, you know, he saddles horses, rides like, he sort of does all of this. Will you talk about, as you produce Taylor's projects, as you're on set for Taylor's projects, what you carry from those projects into the other stuff you're working on?

[David Glasser]

Look, I think it's a discipline. I really think. I think he brings, you know, the cowboy world is about discipline, right? If you sort of think about where he came from and where he grew up and sort of what he has done his whole life, right? It's hard work. You're up early, nobody's complaining. You're doing your thing and you're getting it done, right? Because if you don't get it done, then you're letting other people down. And I think I've taken that with me in my sort of journey with him. And sort of his ability is. It's not about no or yes, it's about getting it done. And I think that's what I take with me in my lesson with him of like, when he wants something or he wants a certain thing, my job is to get it done, is to figure out how to get it done for him. Because that's the way of. The way he sort of understands. And our world sometimes in the Hollywood business is not always like that, right? It's always about trying to figure out what we can do. So it's that management of sort of knowing exactly what he wants and getting it done. And I think that discipline has stayed with me. Because you're sort of out there with him and you're doing on his terms. And his terms are, as you said, very smart. He knows what he wants. He understands it better than anybody. So I'm never going to argue with him. So I just have to figure out how to get it done.

[Taylor Sheridan]

I also think he carries something with him. You know, there's a lot of language, a very sort of poetic, lyrical language both in yellowstone and in 1883, about the radical inefficiency of this lifestyle. In some ways, like cattle ranching in Montana, in Yellowstone. Over and over again, it's revealed this is not the most profitable way to manage this land. It's not about numbers. It's not about necessarily, necessarily profit. It's not about progress by any, like, demonstrable, quantifiable metric. Part of it is just a labor of love. It's about tradition and A labor of love. And I also can't help but apply that same idea to filmmaking. Like, filmmaking is far from the most efficient way in the world to make money. Right. It's a kind of radically inefficient way.

[David Glasser]

Exactly.

[Taylor Sheridan]

It's a labor of love. You know, it's. It's imagination and it's sort of storytelling, and it's foundational, I think, to people to share our stories. But it's also hilariously inefficient in so many ways.

[David Glasser]

I mean, our business sometimes doesn't make sense. I mean, as I sit here today with maybe my CFO and my partner in the room, we'd like to say it makes us a ton of money. That's the way we always go into it. I'm a little crazier, you know, sometimes with wanting to do something because it's super passionate stuff. But you got to find that happy medium. It's not an easy business. And I don't think anything that Taylor goes into or we go into is like, this is going to be a home run. It's going to be the biggest show on tv. No, we go into it because we think it's going to be something that we'll all be really proud of. We don't know how its audiences are going to take it. We don't know if people are going to watch it. And I think that's the incredible thing also of having a partner like Viacom and Paramount and the Paramount Channel. They sort of have a belief. I mean, they bought Yellowstone off of reading one script in the room on a handshake with Taylor and I. And that takes commitment, right? That takes vision. They had no idea that it was going to be the behemoth that it is today. So I think you have to have a lot of people believing in what you want to do to sort of get to make something happen the way you want. The actors have to sign up, the network has to sign up. We have to all sign up. And then we all kind of come into it, and then we wait to see what happens. I was reading an article one time, I can't remember was they analyzed all these jobs. Dentist, if you do X plus Y equals, you know, Z and all these jobs, and the one job they never could figure out was the movie and TV business. And it just makes total sense, like, anything can happen. Anything can really work and anything can't. So I think we're very fortunate, all of us, you know, with you and Taylor, to sort of have this incredible sort of everybody that does everything. I mean, we all know each other, right? We've all become this big family. And I think that's something really special. I think also for Taylor, he never set out to make tv. His whole thing at the end of the day, he always said to me is, I don't want to TV, I want to make 10 hour movies. So let's go make a 10 hour movie. If we can do that, I'll do it. Otherwise I don't want to do this. I said, okay, let me think about that for a minute. And so we had to go into that without thinking. Everything that Taylor does is a 10 hour movie. He wants it to be beautiful, he wants it to be strong, he wants to be powerful. And what he wants it to be is authentic bumps and bruises and all, you know. His new show, Mayor of Kingstown with Jeremy Renner is sort of portrait of prison life in this town. But it's with bumps and bruises and all. It's raw. And it's not going to be for everybody. But it is a great show because Taylor doesn't hold back on being as authentic and real as he can be. And that's the only way he knows. He doesn't know any other way. Like, and he's not gonna. Someone's not gonna take a note and say, dear Taylor, I think you should change that scene to this because it'll be better for when we go ahead and play this in some foreign terror. No, this is what you get. And he's serving up on a platter. And I think that's what makes him who he is.

[Taylor Sheridan]

It really, it's brutally honest and working. You know, as you said, all of this stuff represents a lot of trust. It represents a sort of collaborative agreement to take a risk. And that trickles down throughout our entire cast, our entire crew. That trickles down, I think, from you and Taylor. You guys inspire hundreds of people to work their hardest to believe in what you believe in. And I guess I just as the last thing I say as we run out of time here, because I'm so grateful for your time.

[David Glasser]

Thank you.

[Taylor Sheridan]

Is particularly shooting season four of Yellowstone, to me felt a little bit like it was uncharted territory. It was during the pandemic. It was the summer of 2020. All of us left our homes, our families on the strength of this trust. We all took that risk together. And it was both things. It was both a risk that we were taking. It was dangerous and difficult to leave our families behind. But it was also. You put 600 people back to work more than that. You guys took that weight upon yourselves. You protected the family that you had built for four years, and you put 600 plus people back to work at an incredibly uncertain and difficult time. And I for one, know that I'll never forget it. You brought us all back to work and you took care of us. You protected us and you saw us from one side of that journey to the other.

[David Glasser]

You know, look, I appreciate that. And I remember having the conversation with Taylor, and we're sort of. It was right in the height of COVID and he had written the scripts, and we're sort of scratching our head what to do, and we're getting calls from crew. My unemployment's running out or this happening, or I can't pay my bills, or. We sort of thought about it and said, well, we're shooting in Montana. We could go into a bubble and really protect ourselves and put ourselves back to work. And I said, what do you want to do? And without even a blink of an eye, Taylor said, we're going back to work. That's what we're going to do. And I said, all right, let's figure it out. And we went back and we went into that bubble. And where I really saw it was we're all working really hard and nobody could do anything, Nobody go to restaurants. We had to all eat together and live together on the ranch or really close housing. And then on those Saturdays and Sundays was interesting. All of us would grab a picnic blanket or something and just sit out on the ranch and talk and talk about our families and talk about who we're missing and what we're doing. But there was something really beauty in the ability for everybody to sort of be together. And that season, for me, actually, funny enough that you say that was really special. And to see the ratings the way they are today is just even more. Because for those of us that all worked on that season in the middle of COVID and we had everybody, you know, friends getting sick and people getting sick on the crew, and, you know, we did a pretty incredible job in protecting ourselves, but also sending everybody home with, you know, they're sort of feeling back that I'm okay and this is going to be okay, and we're going to get through it. So it really holds a special place in my heart. And I think audiences have embraced that season, which makes it even more special. So, you know, loving spending time with you today, and thank you for everything. For the fans out there that don't know you put your heart and soul into the show for us. You're always there as early as can be and as late as can be without a word to say. I remember us down at the6666 and hanging out down there. So we all appreciate and I know Taylor does and I do network and all of us at 101 appreciate everything you do for us.

[Taylor Sheridan]

Thank you so much, David. And thank you so, so, so much for being here today.

[David Glasser]

My pleasure. Thank you.

[Taylor Sheridan]

Cheers.

[David Glasser]

Thank you.

[Jefferson White]

Once again, a special thanks to you, the Yellowstone family. Obviously none of this would be possible without you, so thank you so, so, so much for tuning in. We're going to drop new episodes every Thursday, so make sure to subscribe and tune in to the official Yellowstone Podcast on Apple Podcasts, Spotify, wherever you get your podcasts. The Official Yellowstone Podcast is hosted by me, Jefferson White and produced by 101 podcast studios and Paramount Network.