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  • - Why can't we live right here?

  • Like this?

  • All the time?

  • - You know, I ask myself the same thing, grandson.

  • Everyday.

  • Everyday.

  • - I think the scenes between John Dutton and Tate

  • are really what Yellowstone is about.

  • - Tate can see how this ranch sort of runs

  • so that he can keep it in the family.

  • It's lookin' like he might be our last hope for that.

  • - The land is everything to him.

  • You take something that's five generations old

  • and it can continue to look the way it is.

  • You work for that.

  • - (laughing) Well that's exactly how you do it.

  • (dramatic music)

  • - Cool if I ride with you?

  • I want to see my kid.

  • So, Taylor asked me if I knew how to ride

  • at the beginning of the season.

  • I told him yes, and that I'd learn later.

  • And he was like, "Well, you gotta learn now".

  • And then the next episode I was riding.

  • I won't fall off.

  • - She was just startin' to get comfortable on the horses.

  • Taylor wrote the script where Kelsey took my horse.

  • - That's my horse?

  • - We don't have time for this shit.

  • - My name is Sled Reynolds

  • and I am a wrangler, an animal trainer.

  • Taylor has a pretty good idea

  • about what cowboys are supposed to be.

  • Taylor called me and says,

  • "Will you get on a bucking horse"?

  • And, I had to remind him that I was 40.

  • - Got it, Jake.

  • - Yeah, if I can pick it, so, you know.

  • That was pretty fun, it was up in the field.

  • - Oh, now that looks fun.

  • - I think all of us love workin' on this.

  • - Come 'ere you little devil.

  • - It's so much fun.

  • You really feel like you're making movies.

  • - I think Kelsey did good, you know?

  • The first take my horse went buckin' right in to 'em.

  • I couldn't really control him.

  • She just backed her horse up

  • and looked really good.

  • - So you're really learning with the best of the best

  • and hopefully the editing is great.

  • - What we try to do is have horses that kind of

  • do a little bit of everything.

  • - Kelsey, she'd been down to the barn lately,

  • riding Cutter.

  • Something that not everybody gets to do.

  • It's been a good opportunity, but I think that they're

  • riding her really well and advancing.

  • They're gonna take the stunt guys out of business.

  • - Monica's always trying to get back

  • to their beginning, in a way,

  • where it was just Kayce and Tate.

  • Kayce and Monica really work together this season,

  • in a beautiful way, to take care of Tate.

  • - I knew the stars would help him.

  • - It's a dream come true for Kayce.

  • How in nature, kind of living this lifestyle

  • that he grew up with he loves and is part of his legacy.

  • - The campground allows for them to be in this dreamworld

  • all together away from these incredible challenges

  • that they've had to face and overcome.

  • It's simple.

  • And it's about the family.

  • - To have her kind of accept it,

  • and want to be there for it.

  • And actually fall in love with it, too.

  • I think, is just, he's over the moon.

  • - Luke and I really root for these characters.

  • To see the scripts come in

  • and for them to be happy is such a relief.

  • We're happy, too.

  • (emotional music)

  • - For a minute, they're at the camp.

  • They're watching the sunrise.

  • Things seem simple.

  • They're together.

  • It's sort of an exhale.

  • Beth doesn't go down to the camp

  • because she's still working.

  • But she does go visit Rip.

  • - Rip and Beth are such a fascinating couple

  • because it is in a lot of way

  • everyone's fantasy of a couple.

  • - Those scenes were always, for me, were like

  • wow this is the year I'm excited about for Beth and I.

  • - That opening of her heart

  • has been one of the most beautiful things

  • for me to play this year.

  • - And the roles are so juxtaposed between the two of them.

  • Rip is the most masculine guy on the planet

  • who does these very, what would be traditionally

  • thought of as feminine and gentle things for her,

  • and she does these very masculine things.

  • - There's a lovely scene where

  • Rip is making Beth breakfast.

  • - I mean, they're my favorite scenes of the year.

  • - But she doesn't know how to be vulnerable

  • or in a t-shirt, no makeup, walking down the stairs

  • and someone being nice to her.

  • And she resists it.

  • It was one of the most difficult scenes

  • and gorgeous scenes to play.

  • Because, she allows herself in that moment

  • to feel vulnerable.

  • And I don't think I've seen Beth vulnerable ever.

  • - And I sat it down, and she's eating it,

  • and I'm staring at her, and it's a bit uncomfortable

  • when you're eating breakfast and somebody's staring at you.

  • But, it's very lovingly,

  • and she just starts getting emotional.

  • And, we both are just staring

  • and we're just talkin' with our eyes and it's beautiful.

  • - It doesn't take away her femininity

  • and it doesn't weaken his masculinity.

  • It's a really unique, beautiful relationship.

  • - You know, working with Kelly is such a pleasure,

  • but also the writing, you know, again,

  • the ability to play silence.

  • You know, she's great at it.

  • You know, I love breathing with her on screen.

  • And the scenes that Taylor wrote

  • are just exceptional.

  • - And I love playing on the notion of

  • how should this really ignorant, uneducated

  • brute of a man interact

  • with a woman who is an intellectual viper.

  • - We saw in season two how much of a survivor she is.

  • But, actually, it's the emotional scars,

  • I think, that take a longer time to heal.

  • - I don't think Rip even sees the bruises.

  • He just thinks she's amazing.

  • - Regarding just storytelling,

  • it can't all be this high octane drama.

  • And I think the audience and the characters

  • needed a breath for a second.

  • - First we're gonna dance.

  • - You need to put a pause on it

  • and really get emotionally invested.

  • And I hope, I know that the audience loves to see that

  • in Beth and Rip, so, you're gonna see

  • a lot more of it this year.

  • - John Dutton never lets anything go.

  • (laughing) If you wrong him,

  • he will always remember it,

  • and you'll always be paying for it.

  • Especially if you're close to him.

  • Jaime knows he betrayed John.

  • And there's a very slim pathway back.

  • John decides to resign as the Livestock Commissioner,

  • and decides to give the opportunity to Jaime.

  • Which is a complete surprise.

  • And one that Jaime knows is probably coming with

  • some favor or something awful attached.

  • But, it's a way out of the bunkhouse.

  • It's a way back in to his normal life.

  • It's a way back in to influence with John.

  • As soon as he gets it and he gets in the office

  • and the first decision he has to make

  • turns out awful.

  • (suspenseful music)

  • - Holy shit.

  • - What's your name?

  • - Teeter.

  • - What's that?

  • - Teeter is a character that you just can't prepare for.

  • Teeter is a fantastic character in the sense that

  • she's a badass.

  • And I hire her based on that.

  • - Teeter is the new addition to the bunk house.

  • There was a line thrown around that

  • if they were gonna get a girl

  • she needed to be ugly or mean.

  • - Know what I mean?

  • - Mean and ugly.

  • Yes sir.

  • - And then they saw me somehow.

  • And they said, "Perfect".

  • - Jennifer is so committed to Teeter.

  • When I saw her the first time,

  • I was like, "Oh, she's crazy".

  • - And I've been fuckin' pullin' and draggin'

  • since I could bounce piss off a rug.

  • The first scene that you Meet Teeter.

  • - And what the fuck did she say?

  • - It's phonetically written.

  • And, I justified in my head

  • that she just speaks the way her family speaks.

  • You skunk haired mother fucker.

  • - She just called me a mother fucker.

  • - I think that's Taylor after about ten bottles of wine.

  • - You understood that, didn't ya you bow-legged bastard.

  • - There's a great scene between Lloyd and I

  • where she's babblin' on about

  • whatever the hell she's talkin' about.

  • And then we're tryin' to figure out

  • whether it's Spanish and I'm like, "No no no, it's Texan".

  • - It aint Texan.

  • It's gibberish.

  • - It's a great moment between the two of us.

  • It brings levity to the show,

  • which as you know, it needs it.

  • - She's perfect.

  • Trust me.

  • Hire her.

  • - As I'm walkin' away, takin' her to the bar,

  • and I go, "Well, that's gonna be entertaining anyway".

  • - We're equal opportunity here at Yellowstone.

  • - When I started watching the show

  • I immediately became a fan.

  • But I was a big fan of Taylors.

  • He's got his finger on the pulse of the human heart.

  • - It's how we used to do it.

  • - Yeah well, never should have stopped.

  • - It's very Shakespearian.

  • It's very greek tragedy.

  • Set in the west.

  • I love the stories.

  • I loved the idea of what I got to do.

  • There was something so freeing to me

  • about Teeter's physicality.

  • Yeah I feel like she's definitely inner me.

  • - Teeter.

  • I can't imagine doing it any other way.

  • (dramatic music)

- Why can't we live right here?

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'Freight Trains and Monsters' Behind the Story | Yellowstone | Paramount Network

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    林宜悉 posted on 2021/02/05
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