February 6, 2023 • 44 mins
From riding and roping to epic brawls, Yellowstone’s stunt coordinator Jason Rodriguez breaks down the show's stunts. Hear from Jen and Jefferson about their favorite stunt sequences and what is it like putting their equestrian skills to work on set. Then Jason breaks down how the stunt team works with the show's producers, directors, and actors to create these realistic, pulse-pounding action sequences throughout Yellowstone and 1923.
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Episode Transcript
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Speaker 1 (00:05):
Hey, everyone, Welcome back to the Official Yellowstone Podcast. I'm
Jen Landon and I am joined by my podcast partner
and fellow Yellowstone cowboy, mister Jefferson White.
Speaker 2 (00:17):
Hey, Jen, it's an incredible gift to be here with you.
As always, we've got a very, very fun show on
tap for you today. We feel incredibly lucky to have
with us the stunt coordinator of Yellowstone. He's been with
us since the very beginning. We've got Jason Rodriguez, Jay
Rod the legend himself. I hate to say it before
(00:39):
we start, I'm gonna have to run into the other room.
I'm gonna have to grab a cup of coffee, and
then I'm gonna be right back. So hang tight, we're
gonna dive right in.
Speaker 1 (00:58):
Jeff, do you have your coffee?
Speaker 2 (01:01):
Yes? Thank you for your patience with me. I had
a late night. Yeah, it was a late night. I
stayed up late to watch the return of nineteen twenty three.
Couldn't wait. It was one of those funny moments where
me and my fiance are sitting there and it's this
moment of like a fuck, we really should go to bed,
but I couldn't. I couldn't sleep. I knew I wasn't
going to be able to sleep until I watched it.
(01:22):
You know what I mean? Like, I have this thing
where if other people have seen it and I haven't,
I can't.
Speaker 1 (01:28):
Isn't there a word for that that the young people use?
Or it's like a what is it?
Speaker 2 (01:32):
Fomo fomo?
Speaker 1 (01:33):
Fear of missing out?
Speaker 2 (01:35):
Fear of missing out?
Speaker 1 (01:36):
I didn't catch twenty three last night, but I was
up really late doing something oddly Yellowstone related, which was
I drank too much coffee and then drank a monster
energy and then decided that I had never listened to
the anthology of Yellowstone Music on Spotify whoa, and then
proceeded to do that until two thirty in the morning.
(01:59):
And then after I finished listening, I impulse spot a
pair of sneakers.
Speaker 2 (02:04):
How'd you wind up with sneakers? It wasn't even cowboy
boots after all that. That's one of these funny things
you work on a show like this, you wind up
with way more pairs of cowboy boots than you could
ever use. I don't know how to say. I can't.
I went through a real phase early in Yellowstone, and
now I probably have like nine pairs of boots just
taking up my very limited space in my tiny little
Brooklyn apartment.
Speaker 1 (02:25):
I know that you have recently moved, but I saw
your last place. Then I do have to say that
the boots seem to take up an insane amount of
space and.
Speaker 2 (02:36):
It's mostly boots. Yeah, my apartment is mostly boots and hats. Yeah,
well this is the thing. This is why you got
to have a ranch. If you're a cowboy. You got
to have a ranch because you need space to put
your your boots, your hats, your spurs, your various pairaphernalia.
It does not This is why it's hard to be
a Brooklyn cowboys that most of my apartment is taken
(02:57):
up by hat boxes.
Speaker 1 (02:58):
I've got to say, it's hard to just fly with
only a carry on as a cowboy.
Speaker 2 (03:03):
What do you do with the hat is?
Speaker 3 (03:05):
What do you do?
Speaker 1 (03:07):
The spurs are considered a weapon potentially, and for anybody
who you know, buys, you know, or you're gifted some
custom spurs, that is not something that you want to
have taken away from you.
Speaker 2 (03:20):
Yeah, those are precious, they're they're an incredibly expensive, tiny
little piece of metal that it's hard to travel with
all this stuff, which I guess is why these guys.
You know, when we talked to mobrings plenty last week,
he was driving across the entire country. I guess that's
why cowboys end up spending a lot of time driving
horse trailers.
Speaker 1 (03:37):
Huh yeah, I mean I would. I find myself driving
to Texas half the time now, even if it's for
a couple of days. I just I get in the
car flying.
Speaker 2 (03:48):
I think that's a really that's a romantic image, you know,
barreling across the American Southwest, nothing but your spurs and
your hat. Well, it's it's funny you should mention, you know,
the difficulty of flying with spurs that might be perceived
as weapons, because this week we're talking about fights. And
forgive me out there if you're already familiar with this
(04:10):
phenomenon the world of stunts, there's some specific compartmentalization. So
stunts encompasses a lot of different things if you think
about it. Some TV shows are all about gun fights,
some are all about car crashes. Some are all about helicopters, planes, tanks,
military style stunts. Yellowstone really runs the gamut. We've got gunfights,
(04:32):
we've got car crashes. Sometimes in the same sequence, we've
got gunfights, car crashes, horse races, lassowing, rodeo. If you
think about the history of Hollywood, ye, Westerns are a
huge part of the origins of stunt technology, right like
early blockbuster movies. A lot of that is these iconic
(04:52):
American Westerns, and from the very beginning that involves falling
off of horses, jumping from horse to horse, getting shot.
So a lot of the the you know, tradition and
origins of stunt work and filmmaking stunts also dovetails with
the Western world with riding and rodeoing and roping.
Speaker 3 (05:12):
You know what.
Speaker 1 (05:12):
That made me just think we've been fortunate enough to
have people on Yellowstone who actually were some of those
stunt people at the very beginning of the Western TV
film I'm forgetting his last name, but Boots for example,
who I believe he got killed in season four.
Speaker 2 (05:34):
Yeah, they invented a lot of this stuff. It's pretty amazing.
Like one of the cool things about filmmaking is it's
this constant problem solving, and that's also true of ranching.
That's also true of the sort of cowboy world you
got to. Every day is a new day and a
new challenge and you've got to invent the processes by
which you solve those problems and surmount those challenges. So
(05:55):
a lot of the guys working on Yellowstone and sort
of around Yellowstone and in this world invented a lot
of the techniques that the rest of you know, Western
filmmaking has employed for a long time. It's so cool
and learning from them has been such a remarkable gift.
Speaking of stunts, listen, we can talk about this shit
all day long. Luckily we've got a real expert to
(06:16):
inform us about it a little later. Can't wait to
talk to Jay Rod. But in the meantime, Jens, let's
dive into some of our favorite Yellowstone action sequences. Just now,
we've been talking about gunfights, car crashes, horsework. Let's dig
into all of it. What's your favorite walk me through them?
(06:37):
Putting you on the.
Speaker 1 (06:38):
Spot, Jeff, I'm actually not one hundred percent sure what
my favorite action sequences are, and I would like hard
to pick. I would let yes there, it's incredibly hard
to pick. Also because my coffee hasn't said in completely,
So I would sort of love if you answered that
question first to get my brain working this morning.
Speaker 2 (06:55):
Oh don't worry. I'm buzzing. I'm going to talk for
way too fucking long. We've been talking about the like
incredible variety and versatility of our stunt performers and our
stunt teams. One of my favorite stunts on Yellowstone that
I think a company like encompasses a lot of that
is there's a sequence in I want to say season three,
(07:17):
maybe season two, where Casey ropes a guy out of
a truck, which is like, yeah, when you really think
about what that involves, it's crazy. So we're talking about
a stunt performer, probably Jordan Warick, if I was gonna guess,
we all endeavor to do as much and as many
of our stunts as is safe and responsible, but we
(07:41):
also all know we're all smart enough to know when
to tap out and also just for the sake of,
you know, safety, and for the sake of letting the
experts do their job. So I think that's Jordan Warick
in that sequence, who's also been with us since the
very beginning of Yellowstone, literally tossing a lasso into the
cab of a truck and pulling. I think he pulls
(08:04):
the guy out of the window. And when you think
about like how many disciplines are involved in that, how
many complicated factors are colliding or you know, God willing
not colliding in this case. I just think that's a
remarkably impressive thing. So I love that sequence.
Speaker 1 (08:22):
I say this often, but when we were at the Sagawards,
for example, and we were nominated for Best Ensemble, and
they always play the clip, you know, before they announce
who wins, so much of our clip was actually filled
with stunt performers. Yeah, because so much of it was
an action sequence, and the people who who double us
(08:46):
really are half of the performance a lot of the time,
because so much of Yellowstone is about making it look authentic.
And I mean, as the seasons have gone on, we've
been able to do more and more of our of
our own stuff, but they help sort of raft what everybody,
what everybody sees at home. They are in ways half
that performance absolutely.
Speaker 2 (09:07):
I mean I love to say about my stunt double,
Bobby Roberts, that he's played Jimmy for as long as
I have, because my first day on set was the
sequence in season one where Jimmy gets duct taped to
a bucking horse and Bobby was there, and Bobby did
that sequence. You know, so me and Bobby our first
day was the same day. So he's played Jimmy as
long as I have and some of our performers. I mean,
(09:30):
it's amazing. A guy like Jordan Warwick has doubled pretty
much everybody on the show. Whenever they need to tag
in a bad man to do an incredibly difficult task
on the back of a horse, they go to Jordan
Warwick and he doesn't.
Speaker 1 (09:44):
You know, my favorite I don't know if I've said
this ready on the show, but one of my favorite
Bobby Roberts stories is that, besides doubling you, Beth falls
off a horse. I think in season one, the gal
who doubles me, Lindy Gorham, was doing that stunt. She
(10:05):
fell off the horse. Her hand got broken that day
the horse stepped on it. She had to go to
the emergency room. They needed to get the shot off,
and they're looking around at a group of people and
the person who is most height and coloring appropriate is
Bobby Roberts. So when Beth falls off the horse, I
(10:26):
forget in whatever season that is, that is the same
person who doubles Jeff.
Speaker 2 (10:30):
That's amazing. He also doubles Zayin in nineteen twenty three.
A lot of our stunt team works across all of
these shows. So Zain in nineteen twenty three is played
by my dear friend Brian Garritty. We don't look so alike,
but Bobby manages to look enough like both of us. Luckily,
you don't have to listen to me and Jen, you
(10:50):
know in awe over this talking about some of our
personal heroes. We've got one of our personal heroes here
with us right now, right after they break. We feel
(11:14):
so lucky to have with us today, a guy who
is as much responsible for bringing you Yellowstone as anyone else.
He's been on this thing since the beginning. He's been
dealing with me and Jen's incompetence since the beginning, making
sure we're safe, taking care of us. We feel so
blessed to have with us today. Jason Rodriguez, Jay Rod,
thanks for being here.
Speaker 3 (11:34):
Jay Rod, Hey, good to see you guys. Jeff, Jen
thanks for having me.
Speaker 2 (11:39):
Jared, thank you so much for being with us today.
Where in the world are you What are you doing?
Speaker 3 (11:43):
I am in weather for Texas right now, and I'm
directing second unit on Civil War sequence for Bass Reeves,
the new TV show that One on One Studio is producing.
Speaker 2 (11:56):
So we've heard whispers about Bass Reeves. I'm sort of
as a huge fan of Tailor's, as a huge fan
of this world, as a huge fan of yours specifically,
what can you tell us? I think our whole audience
is out here eager for any tidbits you can give us.
Speaker 3 (12:13):
Well, I can only tell you just the overall show
is about the real life ranger Bass Reeves, who was
a sheriff in the Oklahoma territories in the late eighteen hundreds,
and he's credited with being like the inspiration for the
(12:38):
lone ranger that we all know on television, and that's
kind of what I know about the story. I'm kind
of coming in just to do a specific sequence that's
a civil war that kind of opens up where Bass
came from, where we find Bass and stuff.
Speaker 2 (12:58):
This is fascinating because you know, viewers of Yellowstone, people
who've maybe seen eighteen eighty three, seen nineteen twenty three,
are starting to get a sense of how diverse your
skill set is. So in for instance, season four, episode
one of Yellowstone, we've got Casey with the assault rifle
(13:18):
smashing an suv into a panel van and now you're
describing to us shooting a civil war sequence for bass Reeves.
So will you talk about you know, what's the same,
what's different?
Speaker 3 (13:31):
Yeah, I mean, I I've been doing this for thirty years, Jeff, So,
I mean, I know I look much younger than that, but.
Speaker 1 (13:39):
You really do I want people.
Speaker 3 (13:43):
But I've been around man, Yeah, and so so I've
gathered you know, all these all those different skill sets
of you know, being a stuntman and stunt coordinator, so
I can coordinate not just westerns h you know, uh,
driving sequences, gunfights and like that. Which, by the way,
that the episode one, that gunfight was one of my
(14:05):
favorite still sequences to do of all a Yellowstone that
we've done. It was really fun. And then just this
last season the uh the when they were trying to
steal the wild horses in Casey and his crew come
over with the helicopter and all the horses charging through there,
that was that was an amazing experience too. It was
(14:28):
it was fun. And that's what I love about Yellowstone
is we do everything pretty much for real and real
time and not a lot of not a lot of
I don't know, trickery and and we get the we
get the stuff, you know, real and gritty and and
how we're feeling, you know, how how it's scripted.
Speaker 2 (14:50):
There's only so much you can fake, right. That's what
I'm always amazed with on the show is like, you know,
you use movie magic where you can you fake it sometimes,
but on Yellowston, but it does seem like we come
across a lot of sequences where, ah, shit, the best
way to do this is to just do it. And
I'm thinking perhaps a little bit about the Cowboy Poker sequence.
(15:11):
Do you remember this? I think it's season two, episode one.
Will you talk about that a little?
Speaker 3 (15:16):
Yeah? That was those were that was an interesting time
when Taylor wrote that, the producers at the time came
to be and goes, so, how are we gonna do this,
you know, and guarantee the safety of everybody involved? And
I'm like, well, we really can't. I mean, We're just
gonna We're just gonna see what happens. And I'll hire
the doubles for the actors that they'll all be familiar
(15:41):
with bulls and bull riding and bull fighting. I had
two really good bullfighters there, one in wardrobe, one standing
to the side. And then the girl that took the
hit from the bull was Duke Wemberley, who I originally
used in season one to ride a bucking horse, and
I brought her back to double that girl that gets hit,
(16:04):
and Taylor, right before we went was said, hey, look,
I don't need anybody to get you know, just cream
by this bull. You know, we'll just you just do it.
We'll play it for real and then when whenever it's done,
then I'll just rewrite whatever and build We'll make the
story work around it. And I said, okay, So I
get the stuntcirt the stunt people together and I tell
(16:25):
them all that, and Duke looks me right in the
face and goes, no, it says in the script that
the girl gets run over. And I go, I know
it says that, but I'm telling you that whatever happens,
it's going to be great. She goes, nah, I'm gonna
let her. I'm gonna let it hit me. So so
I said, okay, fine, just do whatever you want. I
don't care, like you know, don't die. So she went out.
(16:48):
So she she sat there teeth gritted the entire time,
head down, back to the bull, and he came and
made a bee line for and ran the absolute length
ever and she she got up, ran to the fence.
Everything was fine and we got a really good sequence
out of it. But that's kind of how we do
(17:08):
stuff on this show, you know. It's just kind of like, uh,
they look at me, how are we gonna do it?
And I guess we're just gonna do it for real
and see what happens.
Speaker 2 (17:20):
It's so funny. I'm reminded of when John Dutton turns
to Rip, you know, they're they're they're trying to gas
up a bunch of wild horses, goes, hey, what's the
plan here? And Rip goes, you know, Sarah, I figured
just kind of fuck.
Speaker 3 (17:33):
It, you know, Yeah, yeah, yeah, we had. That's kind
of the attitude. Christian and Boris and I have this
kind of inside joke where we'll set these things up
and then the helicopter will come up over the hill
and the guys will be charging after the loose horses,
and then the thieves will do this and we'll circle
them around and we'll jump into the water and then
we both look at each other and go all right, ready, yeah, no,
it'll never work. It's gonna be great. And and then
(17:57):
and that's kind of our like our good became our
good luck charm. Now we always just every time we're
going to do something big and wild like that, she
and I'll just look at each other and go, it'll
never work. And then and then it invariably does, because
the quality of the cowboys and stuff and the stunt
guys that I hire always pull it off and it
goes great.
Speaker 1 (18:17):
So, Jay Red, I don't know if you know this,
but when Taylor called me to talk to me about
Teeter and sort of the inspiration for Teter, Teter was
based on somebody that he knew growing up, and Duke Wimberly, Yeah,
that was the sort of hybrid because what she did
that day was crazy.
Speaker 3 (18:39):
Yeah, Duke Duke talks a lot like Teeter. She's very
very Texas very. Oh, she's great. She's she has the
she has the funniest like cowboy colocalisms I've ever heard
in my life, and I've heard a lot of them,
and she's she's just she's fun to talk to. And
(19:02):
she did a great job with that. And then in
eighteen eighty three, she played the drownding girl pulls faith
off the horse and tussles with her under the water
and everything. So we call her in for those kind
of spots.
Speaker 1 (19:19):
I can you talk a little bit? I know this great.
Can you talk a little bit about how you got
into stunts and growing up doing rodeo and you know
your your pops being in rodeo and he gave me
my first roping lesson along with you.
Speaker 3 (19:37):
Oh that's right, Yeah, what about that? Yeah? Well, for
just my background is, first, I grew up on a
I grew up on a im Passer Robles. My family,
my grandfather owned a cattle ranch outside of past Robels,
which we still own. My mom and my niece run
up today. And my grandfather, her on my mother's side,
(20:02):
is in the Hall of in the Pro Rodeo Hall
of Fame, several time world champion. And my dad is
also in the Pro Rodio Hall of Fame. He's a
several time team rope and world champion and h and yeah,
it's true. I had him out there working on the
show doing a rodeo sequence and Jen was There's when
I first met Jen, and and Jen was learning how
(20:22):
to rope, and I had her I was kind of
teaching her, and then I went, wait, I got my
dad's here, I'll just have him. I'll just have him teacher, yes,
so and so he kind of helped out. And then
so when I got how I got into stunts was
I moved down to Los Angeles because I was doing
(20:43):
some like local commercials and uh, I was the talent
and a lot of local commercials and stuff. And and
I moved down to LA because I just wanted to
try it in Los Angeles. And I got there, tried
to be an actor for a couple couple of years.
Didn't really like being broke. It was the same reason
(21:03):
I quit Rodeo, and because I hated not having money.
I just hate it. And evidently I don't act very well,
so I was not I was doing a lot of
I was doing quite a few commercials. I was doing
all right and commercials. But anyway, I started doing stunts
on a show called Briscoe County Junior. I doubled Bruce
Campbell and that's kind of how I got my foot
(21:27):
in the door as a stuntman. And then about a
year or two later, I went down and worked on
the Maskazorro not doubling anybody. I was just working as
a stuntman down there. But I was down there for
about six months and met a lot of guys and
that kind of kicked my whole career off. After that,
it kind of just took off from there. I was,
(21:50):
you know, I started working really regularly and had some
really good people like Chris hal freddie Hies that kind
of took me under their wing, and the rest is history.
Here I am.
Speaker 2 (22:02):
I'm always amazed by how it's such a family affair,
you know, and we found that. You know that Yellowstone
is about family. It's about this sort of generational family.
You talk about how your father, your grandfather rodeoed, and
also your family's on set too, right like your your
family's working alongside you on Yellowstone. I find that to
be such a fun and just sort of lovely parallel
(22:25):
between the rodeo world, the stunts world, our world on
the show.
Speaker 3 (22:29):
That's what I love about Yellowstone, not only the crew
and the cast and the store the show. But the
first season, Wade Allen was the stunt coordinator. He had
done Wynn River for Taylor, and I was really happy
that he asked me to come along on the first season,
and I doubled. Actually, I doubled Casey the first season.
(22:53):
And that's another whole story, because Taylor would always before
I would do something, Taylor would joke on I think
he was joking, mate, he wasn't, but he would get
on the walkie and go all right, ready to go,
And hey could tell Jay Rod to look younger and skinnier,
that'd be.
Speaker 4 (23:08):
Great, so so so at any rate, But what I
was saying is when we got when I got that show,
I was able to take my family with me and
we packed up every horse.
Speaker 3 (23:22):
And dog and everything and just moved it out and
and that was great. And you know, then my wife
started doing stunt. She fell the horse when Gretchen Mall's
character dies, and she did that. And then she's been
working on the show, doubled ed and Brolin and doing
(23:42):
other stuff. And then this year I got to have
my son Boone out on the set in the branding
sequence in the cattle drive.
Speaker 1 (23:51):
We got to hang out.
Speaker 3 (23:53):
Yeah, wrote it. He wants to know when you're gonna
come play Mario Kart again with it.
Speaker 2 (23:56):
I know we have that.
Speaker 1 (23:57):
We have a Boone and his youngest Boone and back
er j rod Son's and I play video games with them.
Speaker 2 (24:06):
It was Buck born during season one. Jay ride reminds
me season two, season two, Buck was born, and I
just think it's like, what a beautiful expression of the
sort of family nature. Yeah, your younger son was born
on Yellowstone season two and now he's along for the
ride the whole way. I just think that's such an
amazing thing.
Speaker 3 (24:24):
Yeah, No, it's wonderful. And you know, Taylor's always promoted
that kind of family atmosphere around there. You know, it's
it's just been it's been a really it's been a
great time on so many levels on that show well.
Speaker 2 (24:38):
And it's really interesting. I think, you know, people hear
stunt sequences, there's this idea of this like separation of
you know, the show and then the stunt sequences. But
I think Yellowstone, more than any show I've ever worked on,
there's this incredible sort of blurring of those boundaries, you know,
because we have in our cast, we have guys with
(24:59):
a lot of stunt exp experience, and then a lot
of our sort of stunt guys have been there from
the very beginning and are as much a part of
playing these characters as anyone. Part of what people respond
to when they think of Rip is Cole's just big, powerful,
physical presence. And something that's really fun to think about
is there have been a lot of different stunt doubles
(25:21):
who have also played that part over the years, who
have done specific different sequences. Rip has been involved in
about any kind of stunt you can think of, driving stuff,
gun fights, fist fights, horse stunts, and a lot of
different guys have stepped into those shoes and contributed to
that character that we all has become this sort of
(25:41):
larger than life icon. The same is certainly true for Casey,
the same is true for Jimmy. More than one person
has come in and bucked a horse pretending to be
Jimmy to save my little ass from getting broken half.
And it's just like, it's such a cool sort of
the community that brings this show to life is big,
(26:03):
and I think that it's really the whole thing is
impossible without our stunt performers. Part of what people respond
to about Yellowstone is how real it feels, How real
it feels these exciting sequences. It feels real and those
sequences look good because we have the best stunt performers
and stunt coordinators in the world.
Speaker 3 (26:22):
Well thanks but I honestly got to hand it to
you guys, because you guys have worked so hard to
do is to get as good as you guys have
on horses. I mean, we did those branding sequences this
last season. I think I don't think I used a
stunt person in any of those to drag calves and
rope and do all that stuff. That was all. That
(26:44):
was all cast members. You know, everybody was just dragging
calves and it was it was a really good It
was a really good time. And I mean, I mean,
I remember first season when I picked you up, Jeff,
to take you out to the Cowboy camp in Utah,
and I asked, I asked, so, so, Jeff, you wrote
been horses or anything? And Jeff just cheerfully goes, nope,
my first day. Go all right, cool, No.
Speaker 2 (27:08):
My first rodeo, this is my first rodeo.
Speaker 3 (27:13):
I was not word with Jeff because he's the first
one to go, hey, Jay Rod, I'm not feeling comfortable
with what I'm doing right now. I'm not feeling I'm like,
it's gonna be fine, don't worry about it. It's gonna
be great. You know, it's gonna be all right. Well,
cape is because I'm not really I'm not super comfortable
with this, and maybe we could just no, no, no, it's
gonna be great. You're gonna be fine.
Speaker 2 (27:33):
Don't lie, don't lie. You're always telling me. Hey, Jeff,
this looks a little too extreme. Maybe we should pull
it back, and I'm saying no, Jay Rod, stand down.
Tell Bobby to go smoke a cigarette, no problem.
Speaker 3 (27:46):
Yeah, keep my double away from me.
Speaker 2 (27:48):
I do all my Yeah, don't worry about that. Take
a break, Bobby.
Speaker 1 (27:52):
Hey, Jeff, speaking of a break, we gotta take a break.
Speaker 2 (27:57):
I got Jim with the transition. That was incredible. A break.
Speaker 1 (28:00):
But when we come back, we're going to talk to
j Rod more about stunts. I'm curious about times you've
actually maybe been afraid on set and how Yellowstone compares
to other things you've worked on in terms of how
much we push the envelope. So we'll be right back. Okay,
(28:29):
welcome back, guys.
Speaker 3 (28:31):
One.
Speaker 1 (28:31):
I don't know, Jeff, have I told the story before
about how I cried during the branding sequence. Oh, I'm
not sure if I told you what boring? We don't
have to tell, but I call it my There's no
crying in baseball moment from a.
Speaker 3 (28:44):
League of their own.
Speaker 1 (28:45):
I was supposed to heal during the branding sequence and
I only I'd only headed calves before, and uh, I
couldn't do it.
Speaker 2 (28:55):
And I was so mad.
Speaker 1 (28:57):
And we broke for lunch, and jay Rod was like,
and it's like lunch, you can go, and I'm like, no,
I'm good. And I was just like staying on the
horse and I kept trying and I kept missing, and
I knew that if I got off the horse and
looked jay Rod in the eye, I was going to
start sobbing. So he's just talking to me and I've
got my hat down and I'm like shaking my head
(29:18):
and I look up and I catch eye contact with
him because Jay Rod's a friend, and I start crying
like the girl in a league of their own. And
it wasn't that it was. And here's the thing, Sorry,
jay Rod, if you have like a real strong masculine
identity you need to uphold instead of pulling a Tom
Hanks and being like there's no crying in baseball, jay Rod, like,
(29:41):
tear it up a little because he's never seen me.
He's never seen me, You've probably never seen me cryer
be upset. I'm sort of like an emotion I don't
really have emotions, you know, I'm sort of dead inside.
So I think it just caught him off guard.
Speaker 3 (29:53):
You're I it did. It really did catch me off guard.
And by the way, I was told by you to
keep this. I was sworn to secrecy on this, so
now you're bringing it out into the open.
Speaker 1 (30:06):
But yeah, none of.
Speaker 3 (30:10):
You know, I could, honestly, I could. You are such
a good you are such a friend, and and uh
and I could feel your frustration, and it just it
it made me, you know, it made me feel bad
that you were feeling so bad. And yeah, I don't care.
I'm an emotional guy. What the hell, I'm fifty something
years old. I'm going to make any excuses for anything.
(30:30):
So and it just it moved me that you were
so passionate and so uh frustrated in the moment, that
you cared so much that uh, I mean because a
lot of actors would just like miss them and they go, oh,
well that's where my stun double takes me cared and
they don't care, but you just like wanted to do it,
so man.
Speaker 1 (30:50):
And then we hung in there and then it worked.
Speaker 3 (30:53):
Yeah, it worked. You got one and you drug it,
and I was behind I was behind the I was
behind the monitor with Christina. And when you caught one
and you're dragging it to the fire, I was like
jumping up and down, like I was so happy for
you to, you know, have the success that you did,
and I knew it would turn out good. But yeah,
(31:15):
it was a definitely a more even a bonding experience
jeh and I.
Speaker 2 (31:22):
See this is funny because when I broke down and cried,
jay Rod slapped me in the face. He put me
in a headlock and gave me a nuggie for fifteen
minutes production. We had to go on a break because
Jason gave me a nuggie for fifteen minutes.
Speaker 1 (31:39):
Jay Red, I don't know if you can't answer this question.
Have there ever been moments on set like has there
been or is there a distinct moment where you got
worried where you went where I mean or that might
just be a permanent state. But have you had moments that,
again are out of our control because we do take
calculated risk.
Speaker 3 (32:00):
Yeah, I mean I can't anytime we do something big
like that. There's a sequence where he chased buffalo at night,
and that that sequence worried me just because it was
night through this pasture and we couldn't you know, the
devils are chasing this buffalo and they run fast. I mean,
(32:20):
when you're chasing a buffalo, you're it. You're going as
fast as your horse can pack you. And that kind
of made me that that made me nervous. The the again,
the wild horse sequence that we did this season always
kind of makes me nervous. I always have a Jordan
(32:40):
work my right hand man, and he's out here running,
coordinating fasters and doing a really great job. I always
tell him I will always look at him sometimes when
I'm nervous and I'll go, here's where I see my
career flash before my eyes, and he always look at
me and go I hate it when you say that.
Speaker 1 (33:00):
For people who don't know about horses and the things
involved with that. Like one of the things that I've
come to have my own healthy fear about that I
didn't have before, And what has often felt to me
to be the most dangerous part of the show is running.
Is even just loping a horse through a field that
is thick and brush that has holes that we might
(33:21):
not see that seems to be the thing that I
always because the rest of it, I feel like we
can control and choreograph and we obviously check those fields.
Speaker 3 (33:32):
But yeah, I mean we check them and do and
do our due diligence to make it absolutely safe for
the horses and the riders and everything. But still, yeah,
those are the times. Those are the times that I
just get a little worried about it. But ultimately I
trust our prep and I trust our actors and stuntman
(33:55):
and just kind of don't worry about it.
Speaker 1 (34:00):
My favorite stunt that we did together, j Rod, was
it'll It'll probably always be the Season three biker sequence.
Oh yeah, I was on cloud nine by the end
of that day. I mean, I was tired. We had
done it, yeah, so many times. But that was so fun.
(34:22):
And I got to work with your brother, who I
love who uh yeah he looks you guys. He looks
like j Rod, but like parallel universe j Like the
eyes are the same, but nothing else you got.
Speaker 3 (34:36):
You got to bite him right he did him? Yeah? Yeah,
that's good. Yeah, Yeah, it was fun. That was That
was a fun sequence and Jen. That was Jen's first season,
so I got her a double I had I had
a double for her just standing by because I didn't know,
you know, I didn't know Jen yet and everything and
those guys and I remember huh, Denn and Ian going, Hey,
(35:01):
where the hell's are double? I go, I know you guys,
you'll be fine, and he was going, I hate getting
slammed around and stuff like that, and I go, you'll
be fine, suck it up, get in there, and my
stunt guys beat the hell out of them, and they
had no doubles of Jens double standing over there. And
I knew once I got to really know Jen and
I saw her that day, I go, oh, we're gonna
(35:22):
have to double it for this stuff again, because she
just loves it and thinks it's the greatest thing ever.
Speaker 1 (35:27):
I get so mad when I don't have enough fight stuff.
I'm like, no, like this is I live for this.
Speaker 3 (35:33):
You scarcely get into the fighting way too enthusiastically, like
the bar fight, this secret the bar fights. This year.
Jen was like she's running around and the rehearsals and
like as she'd dispatched with her guys, she'd grab somebody
else on the floor and smack him in the back
of the head. And I mean she owns it.
Speaker 1 (35:57):
J Rud does. And I want you to lie about
this if the answer is no, But does Yellowstone push
the envelope more than other shows that you've worked on
in this sort of horse stunt area? Do we do
more than other people? And if the answer is no,
(36:19):
I want you to lie.
Speaker 3 (36:20):
No, no, no, no, I don't have to lie. Believe
this is it's the scripts that Taylor writes require more.
I don't know what you want to say balls this book,
whatever you want to say, yeah, to accomplish the The
(36:41):
and the thing of it is is it's not like
when you look at it, it's not like you know,
you think a huge action stuff. It's like Marvel movies
and you know, Michael Bate and stuff like that. Those stuff.
That stuff is very rehearsed, very calculated, very you know,
all the bugs are worked out of that before the
performers even come on and start to do it. It's
very specific. Like I said, with our stuff, it's like
(37:05):
we just we just do it. We just you know,
throw twenty buffalo in the field and tell the guys
to go chase them, you know, or we or we
you know, just all that stuff is you know like
I said, it's calculated in a way that I know
the horses, I know the elements, I know everything, and
(37:27):
I've and I've worked out every possible scenario in my
head of what could possibly go wrong and then eliminated that,
and so it's it's safe in that regard, But ultimately
it's uh yeah, I mean when I first started on
the show, there was a lot of like, we're really
going to do this, Uh this is you know, And
(37:47):
now I kind of I kind of just relax into
it and know that you guys have been trained enough,
and then the stunt guys that I hire going to
be perfect and thing is going to be.
Speaker 1 (38:00):
Great on that friend, Jared, just because you actually are
such a good director, did you pick up or just
start thinking like a director when you started coordinating stunt
things and just innately started thinking about it from like
a camera standpoint, You had to almost think about the
(38:23):
scene as a whole in order to know like where
you were going to put things, et cetera.
Speaker 3 (38:28):
Yeah, I mean that's that's how I like to coordinate,
and I have that background, and what important to me,
especially with the Yellowstone, is not only like serving the action,
but serving the script and the and the the actor
in their in their character and the progression of whatever
(38:48):
that is. So when even in action sequences, to me,
it's just an extension of the story. And if you
don't put the story pieces in or if it rings
faults with what if it rings faults with the character,
it doesn't do any good to be the greatest action
sequence ever and not not push, not move the story forward.
(39:09):
So I think a lot about that stuff. In fact,
this season, one of my favorite things that we did
was that fight between Beth and Summer because I really
got We rehearsed it quite a bit, and I really
got to work with Kelly and Piper and we had
these really cool talks about character and what Beth would
(39:30):
do here and what Summer would do and how, and
it was really a great I enjoyed it immensely because
it was this great collaboration of you know, even if
it was you know, small stuff. When when Rip comes
out to break the fight up, Kelly goes, I want
to get off of her, but I think Beth wouldn't
just like stand up, and I go, well, One really
(39:51):
crappy thing is when you're in mma fight and stuff
and when the bell rings. I go, you can push
off of the push your push off the guy like
he's help, Like you're pushing off of him to stand up.
And she goes, oh that, I go, so why don't
you just grab Piper's face and just shover her like
get up using her face to stand up? And Kelly
(40:13):
was like, oh my god, that's great, and so she
did it and it was all you know, it's then
it's fun to see it that it worked in the
final cut and they acted it so well, and I
mean those girls went at it for two nights, but
it was but again it was back to it was
a it was an ability and a scene like that
to really you really serve their characters, you know, even
(40:38):
though it's a big action, you know, a big fight.
Speaker 2 (40:42):
I think that really speaks to that that happens throughout
the series because you know, there are so many bad
asses on Yellowstone, but they all have a sort of
distinct personality and that translates into their sort of style
of violence, you know, which is an interesting thing to
talk about. But it's like Rip fights different than Casey fights,
different than Walker fights, different than Bet, And it's so
(41:04):
cool to see their personalities and the circumstances their characters
grew up in affect the way they engage in these sequences.
I think that's part of what's so gratifying about Season four,
episode one of Yellowstone, when Casey just pops the fuck off,
because you see the years that he spent engaged in
(41:24):
special operations exactly, you see it for the first time.
You see that switch really flip, and he goes into
a completely different No.
Speaker 3 (41:33):
Yeah, you can absolutely see that he's been shot out
for real. This isn't the first gunfight he's ever been in,
you know.
Speaker 2 (41:39):
And yeah, and that's so different than like Rip, how
Rip handles these things. You know, Rip kind of runs
headlong into these conflicts, whereas Casey kind of turns into
this well trained machine exactly.
Speaker 3 (41:51):
Yeah, yeah, it is a that's not That's what's fun
about doing these sequences is you get to kind of
think about that. You know, when when Rip, I can't
remember what episode there's when Rip comes in and saves
Beth from being raped by the Beck Brothers, bad guys
and stuff, is you know, he just the guy turns
(42:12):
a gun on him and he just smashes through the
window and just can continues forward and takes the gun
and slams the guy through the floor. And I mean
it's just that's just how Rip where Casey would have
probably you know, came in and got a good angle
on him and taken him out. You know.
Speaker 2 (42:27):
So it's Rip's not very tactical, just kind of he's
the bull, he's the bowl playing cowboy poker. He's going
through you.
Speaker 3 (42:35):
Yeah, yeah, which is always always fun to work with
Cole and stuff like that. It's it's it's pretty fun.
My stunt guy's hate doing fights with Cole because he's
so big and strong, and doesn't you know when he
when I say through the guy through the floor, that
(42:56):
was a guy ritten off it. And I mean when Rip,
when Cole picked him up and slammed him onto the floor,
the whole like it felt like the whole second story
shook like it was. It was. It was not pleasant.
Speaker 2 (43:11):
Yeah, thanks for everything you do for us, obviously for
years and years now. We feel so lucky to have
you with us. And thanks for taking the time today.
You're a very busy man.
Speaker 3 (43:21):
Thanks for having me. I appreciate it.
Speaker 1 (43:23):
I miss you, guys, I miss you.
Speaker 2 (43:28):
It was an incredible gift to talk to Jay Rod
obviously somebody that Jen and I admire very much. If
you couldn't hear it in our voices, we feel so
so lucky. We also feel incredibly lucky to have you
the listener with us every week. Thank you so much
for being here. It really means the world, and we'll
see you real soon. The Official Yellowstone Podcast is a
(43:50):
production of one oh one Studios and Paramount. This episode
was produced by Scott Stone. Brandon Goetchis is the head
of Audio for one oh one Studios. Steve Rasis is
the executive vice president of the Paramount Global Podcast Group.
Special thanks to Megan Marcus, Jeremy Westfall, Ainslie Rosito, Andrew Sarnow,
Jason Red and Whitney Baxter from Paramount, and of course
(44:10):
David Glasser, David Huckin and Michelle Newman from one oh
one Studios
Hey, everyone, Welcome back to the Official Yellowstone Podcast. I'm
Jen Landon and I am joined by my podcast partner
and fellow Yellowstone cowboy, mister Jefferson White.
Speaker 2 (00:17):
Hey, Jen, it's an incredible gift to be here with you.
As always, we've got a very, very fun show on
tap for you today. We feel incredibly lucky to have
with us the stunt coordinator of Yellowstone. He's been with
us since the very beginning. We've got Jason Rodriguez, Jay
Rod the legend himself. I hate to say it before
(00:39):
we start, I'm gonna have to run into the other room.
I'm gonna have to grab a cup of coffee, and
then I'm gonna be right back. So hang tight, we're
gonna dive right in.
Speaker 1 (00:58):
Jeff, do you have your coffee?
Speaker 2 (01:01):
Yes? Thank you for your patience with me. I had
a late night. Yeah, it was a late night. I
stayed up late to watch the return of nineteen twenty three.
Couldn't wait. It was one of those funny moments where
me and my fiance are sitting there and it's this
moment of like a fuck, we really should go to bed,
but I couldn't. I couldn't sleep. I knew I wasn't
going to be able to sleep until I watched it.
(01:22):
You know what I mean? Like, I have this thing
where if other people have seen it and I haven't,
I can't.
Speaker 1 (01:28):
Isn't there a word for that that the young people use?
Or it's like a what is it?
Speaker 2 (01:32):
Fomo fomo?
Speaker 1 (01:33):
Fear of missing out?
Speaker 2 (01:35):
Fear of missing out?
Speaker 1 (01:36):
I didn't catch twenty three last night, but I was
up really late doing something oddly Yellowstone related, which was
I drank too much coffee and then drank a monster
energy and then decided that I had never listened to
the anthology of Yellowstone Music on Spotify whoa, and then
proceeded to do that until two thirty in the morning.
(01:59):
And then after I finished listening, I impulse spot a
pair of sneakers.
Speaker 2 (02:04):
How'd you wind up with sneakers? It wasn't even cowboy
boots after all that. That's one of these funny things
you work on a show like this, you wind up
with way more pairs of cowboy boots than you could
ever use. I don't know how to say. I can't.
I went through a real phase early in Yellowstone, and
now I probably have like nine pairs of boots just
taking up my very limited space in my tiny little
Brooklyn apartment.
Speaker 1 (02:25):
I know that you have recently moved, but I saw
your last place. Then I do have to say that
the boots seem to take up an insane amount of
space and.
Speaker 2 (02:36):
It's mostly boots. Yeah, my apartment is mostly boots and hats. Yeah,
well this is the thing. This is why you got
to have a ranch. If you're a cowboy. You got
to have a ranch because you need space to put
your your boots, your hats, your spurs, your various pairaphernalia.
It does not This is why it's hard to be
a Brooklyn cowboys that most of my apartment is taken
(02:57):
up by hat boxes.
Speaker 1 (02:58):
I've got to say, it's hard to just fly with
only a carry on as a cowboy.
Speaker 2 (03:03):
What do you do with the hat is?
Speaker 3 (03:05):
What do you do?
Speaker 1 (03:07):
The spurs are considered a weapon potentially, and for anybody
who you know, buys, you know, or you're gifted some
custom spurs, that is not something that you want to
have taken away from you.
Speaker 2 (03:20):
Yeah, those are precious, they're they're an incredibly expensive, tiny
little piece of metal that it's hard to travel with
all this stuff, which I guess is why these guys.
You know, when we talked to mobrings plenty last week,
he was driving across the entire country. I guess that's
why cowboys end up spending a lot of time driving
horse trailers.
Speaker 1 (03:37):
Huh yeah, I mean I would. I find myself driving
to Texas half the time now, even if it's for
a couple of days. I just I get in the
car flying.
Speaker 2 (03:48):
I think that's a really that's a romantic image, you know,
barreling across the American Southwest, nothing but your spurs and
your hat. Well, it's it's funny you should mention, you know,
the difficulty of flying with spurs that might be perceived
as weapons, because this week we're talking about fights. And
forgive me out there if you're already familiar with this
(04:10):
phenomenon the world of stunts, there's some specific compartmentalization. So
stunts encompasses a lot of different things if you think
about it. Some TV shows are all about gun fights,
some are all about car crashes. Some are all about helicopters, planes, tanks,
military style stunts. Yellowstone really runs the gamut. We've got gunfights,
(04:32):
we've got car crashes. Sometimes in the same sequence, we've
got gunfights, car crashes, horse races, lassowing, rodeo. If you
think about the history of Hollywood, ye, Westerns are a
huge part of the origins of stunt technology, right like
early blockbuster movies. A lot of that is these iconic
(04:52):
American Westerns, and from the very beginning that involves falling
off of horses, jumping from horse to horse, getting shot.
So a lot of the the you know, tradition and
origins of stunt work and filmmaking stunts also dovetails with
the Western world with riding and rodeoing and roping.
Speaker 3 (05:12):
You know what.
Speaker 1 (05:12):
That made me just think we've been fortunate enough to
have people on Yellowstone who actually were some of those
stunt people at the very beginning of the Western TV
film I'm forgetting his last name, but Boots for example,
who I believe he got killed in season four.
Speaker 2 (05:34):
Yeah, they invented a lot of this stuff. It's pretty amazing.
Like one of the cool things about filmmaking is it's
this constant problem solving, and that's also true of ranching.
That's also true of the sort of cowboy world you
got to. Every day is a new day and a
new challenge and you've got to invent the processes by
which you solve those problems and surmount those challenges. So
(05:55):
a lot of the guys working on Yellowstone and sort
of around Yellowstone and in this world invented a lot
of the techniques that the rest of you know, Western
filmmaking has employed for a long time. It's so cool
and learning from them has been such a remarkable gift.
Speaking of stunts, listen, we can talk about this shit
all day long. Luckily we've got a real expert to
(06:16):
inform us about it a little later. Can't wait to
talk to Jay Rod. But in the meantime, Jens, let's
dive into some of our favorite Yellowstone action sequences. Just now,
we've been talking about gunfights, car crashes, horsework. Let's dig
into all of it. What's your favorite walk me through them?
(06:37):
Putting you on the.
Speaker 1 (06:38):
Spot, Jeff, I'm actually not one hundred percent sure what
my favorite action sequences are, and I would like hard
to pick. I would let yes there, it's incredibly hard
to pick. Also because my coffee hasn't said in completely,
So I would sort of love if you answered that
question first to get my brain working this morning.
Speaker 2 (06:55):
Oh don't worry. I'm buzzing. I'm going to talk for
way too fucking long. We've been talking about the like
incredible variety and versatility of our stunt performers and our
stunt teams. One of my favorite stunts on Yellowstone that
I think a company like encompasses a lot of that
is there's a sequence in I want to say season three,
(07:17):
maybe season two, where Casey ropes a guy out of
a truck, which is like, yeah, when you really think
about what that involves, it's crazy. So we're talking about
a stunt performer, probably Jordan Warick, if I was gonna guess,
we all endeavor to do as much and as many
of our stunts as is safe and responsible, but we
(07:41):
also all know we're all smart enough to know when
to tap out and also just for the sake of,
you know, safety, and for the sake of letting the
experts do their job. So I think that's Jordan Warick
in that sequence, who's also been with us since the
very beginning of Yellowstone, literally tossing a lasso into the
cab of a truck and pulling. I think he pulls
(08:04):
the guy out of the window. And when you think
about like how many disciplines are involved in that, how
many complicated factors are colliding or you know, God willing
not colliding in this case. I just think that's a
remarkably impressive thing. So I love that sequence.
Speaker 1 (08:22):
I say this often, but when we were at the Sagawards,
for example, and we were nominated for Best Ensemble, and
they always play the clip, you know, before they announce
who wins, so much of our clip was actually filled
with stunt performers. Yeah, because so much of it was
an action sequence, and the people who who double us
(08:46):
really are half of the performance a lot of the time,
because so much of Yellowstone is about making it look authentic.
And I mean, as the seasons have gone on, we've
been able to do more and more of our of
our own stuff, but they help sort of raft what everybody,
what everybody sees at home. They are in ways half
that performance absolutely.
Speaker 2 (09:07):
I mean I love to say about my stunt double,
Bobby Roberts, that he's played Jimmy for as long as
I have, because my first day on set was the
sequence in season one where Jimmy gets duct taped to
a bucking horse and Bobby was there, and Bobby did
that sequence. You know, so me and Bobby our first
day was the same day. So he's played Jimmy as
long as I have and some of our performers. I mean,
(09:30):
it's amazing. A guy like Jordan Warwick has doubled pretty
much everybody on the show. Whenever they need to tag
in a bad man to do an incredibly difficult task
on the back of a horse, they go to Jordan
Warwick and he doesn't.
Speaker 1 (09:44):
You know, my favorite I don't know if I've said
this ready on the show, but one of my favorite
Bobby Roberts stories is that, besides doubling you, Beth falls
off a horse. I think in season one, the gal
who doubles me, Lindy Gorham, was doing that stunt. She
(10:05):
fell off the horse. Her hand got broken that day
the horse stepped on it. She had to go to
the emergency room. They needed to get the shot off,
and they're looking around at a group of people and
the person who is most height and coloring appropriate is
Bobby Roberts. So when Beth falls off the horse, I
(10:26):
forget in whatever season that is, that is the same
person who doubles Jeff.
Speaker 2 (10:30):
That's amazing. He also doubles Zayin in nineteen twenty three.
A lot of our stunt team works across all of
these shows. So Zain in nineteen twenty three is played
by my dear friend Brian Garritty. We don't look so alike,
but Bobby manages to look enough like both of us. Luckily,
you don't have to listen to me and Jen, you
(10:50):
know in awe over this talking about some of our
personal heroes. We've got one of our personal heroes here
with us right now, right after they break. We feel
(11:14):
so lucky to have with us today, a guy who
is as much responsible for bringing you Yellowstone as anyone else.
He's been on this thing since the beginning. He's been
dealing with me and Jen's incompetence since the beginning, making
sure we're safe, taking care of us. We feel so
blessed to have with us today. Jason Rodriguez, Jay Rod,
thanks for being here.
Speaker 3 (11:34):
Jay Rod, Hey, good to see you guys. Jeff, Jen
thanks for having me.
Speaker 2 (11:39):
Jared, thank you so much for being with us today.
Where in the world are you What are you doing?
Speaker 3 (11:43):
I am in weather for Texas right now, and I'm
directing second unit on Civil War sequence for Bass Reeves,
the new TV show that One on One Studio is producing.
Speaker 2 (11:56):
So we've heard whispers about Bass Reeves. I'm sort of
as a huge fan of Tailor's, as a huge fan
of this world, as a huge fan of yours specifically,
what can you tell us? I think our whole audience
is out here eager for any tidbits you can give us.
Speaker 3 (12:13):
Well, I can only tell you just the overall show
is about the real life ranger Bass Reeves, who was
a sheriff in the Oklahoma territories in the late eighteen hundreds,
and he's credited with being like the inspiration for the
(12:38):
lone ranger that we all know on television, and that's
kind of what I know about the story. I'm kind
of coming in just to do a specific sequence that's
a civil war that kind of opens up where Bass
came from, where we find Bass and stuff.
Speaker 2 (12:58):
This is fascinating because you know, viewers of Yellowstone, people
who've maybe seen eighteen eighty three, seen nineteen twenty three,
are starting to get a sense of how diverse your
skill set is. So in for instance, season four, episode
one of Yellowstone, we've got Casey with the assault rifle
(13:18):
smashing an suv into a panel van and now you're
describing to us shooting a civil war sequence for bass Reeves.
So will you talk about you know, what's the same,
what's different?
Speaker 3 (13:31):
Yeah, I mean, I I've been doing this for thirty years, Jeff, So,
I mean, I know I look much younger than that, but.
Speaker 1 (13:39):
You really do I want people.
Speaker 3 (13:43):
But I've been around man, Yeah, and so so I've
gathered you know, all these all those different skill sets
of you know, being a stuntman and stunt coordinator, so
I can coordinate not just westerns h you know, uh,
driving sequences, gunfights and like that. Which, by the way,
that the episode one, that gunfight was one of my
(14:05):
favorite still sequences to do of all a Yellowstone that
we've done. It was really fun. And then just this
last season the uh the when they were trying to
steal the wild horses in Casey and his crew come
over with the helicopter and all the horses charging through there,
that was that was an amazing experience too. It was
(14:28):
it was fun. And that's what I love about Yellowstone
is we do everything pretty much for real and real
time and not a lot of not a lot of
I don't know, trickery and and we get the we
get the stuff, you know, real and gritty and and
how we're feeling, you know, how how it's scripted.
Speaker 2 (14:50):
There's only so much you can fake, right. That's what
I'm always amazed with on the show is like, you know,
you use movie magic where you can you fake it sometimes,
but on Yellowston, but it does seem like we come
across a lot of sequences where, ah, shit, the best
way to do this is to just do it. And
I'm thinking perhaps a little bit about the Cowboy Poker sequence.
(15:11):
Do you remember this? I think it's season two, episode one.
Will you talk about that a little?
Speaker 3 (15:16):
Yeah? That was those were that was an interesting time
when Taylor wrote that, the producers at the time came
to be and goes, so, how are we gonna do this,
you know, and guarantee the safety of everybody involved? And
I'm like, well, we really can't. I mean, We're just
gonna We're just gonna see what happens. And I'll hire
the doubles for the actors that they'll all be familiar
(15:41):
with bulls and bull riding and bull fighting. I had
two really good bullfighters there, one in wardrobe, one standing
to the side. And then the girl that took the
hit from the bull was Duke Wemberley, who I originally
used in season one to ride a bucking horse, and
I brought her back to double that girl that gets hit,
(16:04):
and Taylor, right before we went was said, hey, look,
I don't need anybody to get you know, just cream
by this bull. You know, we'll just you just do it.
We'll play it for real and then when whenever it's done,
then I'll just rewrite whatever and build We'll make the
story work around it. And I said, okay, So I
get the stuntcirt the stunt people together and I tell
(16:25):
them all that, and Duke looks me right in the
face and goes, no, it says in the script that
the girl gets run over. And I go, I know
it says that, but I'm telling you that whatever happens,
it's going to be great. She goes, nah, I'm gonna
let her. I'm gonna let it hit me. So so
I said, okay, fine, just do whatever you want. I
don't care, like you know, don't die. So she went out.
(16:48):
So she she sat there teeth gritted the entire time,
head down, back to the bull, and he came and
made a bee line for and ran the absolute length
ever and she she got up, ran to the fence.
Everything was fine and we got a really good sequence
out of it. But that's kind of how we do
(17:08):
stuff on this show, you know. It's just kind of like, uh,
they look at me, how are we gonna do it?
And I guess we're just gonna do it for real
and see what happens.
Speaker 2 (17:20):
It's so funny. I'm reminded of when John Dutton turns
to Rip, you know, they're they're they're trying to gas
up a bunch of wild horses, goes, hey, what's the
plan here? And Rip goes, you know, Sarah, I figured
just kind of fuck.
Speaker 3 (17:33):
It, you know, Yeah, yeah, yeah, we had. That's kind
of the attitude. Christian and Boris and I have this
kind of inside joke where we'll set these things up
and then the helicopter will come up over the hill
and the guys will be charging after the loose horses,
and then the thieves will do this and we'll circle
them around and we'll jump into the water and then
we both look at each other and go all right, ready, yeah, no,
it'll never work. It's gonna be great. And and then
(17:57):
and that's kind of our like our good became our
good luck charm. Now we always just every time we're
going to do something big and wild like that, she
and I'll just look at each other and go, it'll
never work. And then and then it invariably does, because
the quality of the cowboys and stuff and the stunt
guys that I hire always pull it off and it
goes great.
Speaker 1 (18:17):
So, Jay Red, I don't know if you know this,
but when Taylor called me to talk to me about
Teeter and sort of the inspiration for Teter, Teter was
based on somebody that he knew growing up, and Duke Wimberly, Yeah,
that was the sort of hybrid because what she did
that day was crazy.
Speaker 3 (18:39):
Yeah, Duke Duke talks a lot like Teeter. She's very
very Texas very. Oh, she's great. She's she has the
she has the funniest like cowboy colocalisms I've ever heard
in my life, and I've heard a lot of them,
and she's she's just she's fun to talk to. And
(19:02):
she did a great job with that. And then in
eighteen eighty three, she played the drownding girl pulls faith
off the horse and tussles with her under the water
and everything. So we call her in for those kind
of spots.
Speaker 1 (19:19):
I can you talk a little bit? I know this great.
Can you talk a little bit about how you got
into stunts and growing up doing rodeo and you know
your your pops being in rodeo and he gave me
my first roping lesson along with you.
Speaker 3 (19:37):
Oh that's right, Yeah, what about that? Yeah? Well, for
just my background is, first, I grew up on a
I grew up on a im Passer Robles. My family,
my grandfather owned a cattle ranch outside of past Robels,
which we still own. My mom and my niece run
up today. And my grandfather, her on my mother's side,
(20:02):
is in the Hall of in the Pro Rodeo Hall
of Fame, several time world champion. And my dad is
also in the Pro Rodio Hall of Fame. He's a
several time team rope and world champion and h and yeah,
it's true. I had him out there working on the
show doing a rodeo sequence and Jen was There's when
I first met Jen, and and Jen was learning how
(20:22):
to rope, and I had her I was kind of
teaching her, and then I went, wait, I got my
dad's here, I'll just have him. I'll just have him teacher, yes,
so and so he kind of helped out. And then
so when I got how I got into stunts was
I moved down to Los Angeles because I was doing
(20:43):
some like local commercials and uh, I was the talent
and a lot of local commercials and stuff. And and
I moved down to LA because I just wanted to
try it in Los Angeles. And I got there, tried
to be an actor for a couple couple of years.
Didn't really like being broke. It was the same reason
(21:03):
I quit Rodeo, and because I hated not having money.
I just hate it. And evidently I don't act very well,
so I was not I was doing a lot of
I was doing quite a few commercials. I was doing
all right and commercials. But anyway, I started doing stunts
on a show called Briscoe County Junior. I doubled Bruce
Campbell and that's kind of how I got my foot
(21:27):
in the door as a stuntman. And then about a
year or two later, I went down and worked on
the Maskazorro not doubling anybody. I was just working as
a stuntman down there. But I was down there for
about six months and met a lot of guys and
that kind of kicked my whole career off. After that,
it kind of just took off from there. I was,
(21:50):
you know, I started working really regularly and had some
really good people like Chris hal freddie Hies that kind
of took me under their wing, and the rest is history.
Here I am.
Speaker 2 (22:02):
I'm always amazed by how it's such a family affair,
you know, and we found that. You know that Yellowstone
is about family. It's about this sort of generational family.
You talk about how your father, your grandfather rodeoed, and
also your family's on set too, right like your your
family's working alongside you on Yellowstone. I find that to
be such a fun and just sort of lovely parallel
(22:25):
between the rodeo world, the stunts world, our world on
the show.
Speaker 3 (22:29):
That's what I love about Yellowstone, not only the crew
and the cast and the store the show. But the
first season, Wade Allen was the stunt coordinator. He had
done Wynn River for Taylor, and I was really happy
that he asked me to come along on the first season,
and I doubled. Actually, I doubled Casey the first season.
(22:53):
And that's another whole story, because Taylor would always before
I would do something, Taylor would joke on I think
he was joking, mate, he wasn't, but he would get
on the walkie and go all right, ready to go,
And hey could tell Jay Rod to look younger and skinnier,
that'd be.
Speaker 4 (23:08):
Great, so so so at any rate, But what I
was saying is when we got when I got that show,
I was able to take my family with me and
we packed up every horse.
Speaker 3 (23:22):
And dog and everything and just moved it out and
and that was great. And you know, then my wife
started doing stunt. She fell the horse when Gretchen Mall's
character dies, and she did that. And then she's been
working on the show, doubled ed and Brolin and doing
(23:42):
other stuff. And then this year I got to have
my son Boone out on the set in the branding
sequence in the cattle drive.
Speaker 1 (23:51):
We got to hang out.
Speaker 3 (23:53):
Yeah, wrote it. He wants to know when you're gonna
come play Mario Kart again with it.
Speaker 2 (23:56):
I know we have that.
Speaker 1 (23:57):
We have a Boone and his youngest Boone and back
er j rod Son's and I play video games with them.
Speaker 2 (24:06):
It was Buck born during season one. Jay ride reminds
me season two, season two, Buck was born, and I
just think it's like, what a beautiful expression of the
sort of family nature. Yeah, your younger son was born
on Yellowstone season two and now he's along for the
ride the whole way. I just think that's such an
amazing thing.
Speaker 3 (24:24):
Yeah, No, it's wonderful. And you know, Taylor's always promoted
that kind of family atmosphere around there. You know, it's
it's just been it's been a really it's been a
great time on so many levels on that show well.
Speaker 2 (24:38):
And it's really interesting. I think, you know, people hear
stunt sequences, there's this idea of this like separation of
you know, the show and then the stunt sequences. But
I think Yellowstone, more than any show I've ever worked on,
there's this incredible sort of blurring of those boundaries, you know,
because we have in our cast, we have guys with
(24:59):
a lot of stunt exp experience, and then a lot
of our sort of stunt guys have been there from
the very beginning and are as much a part of
playing these characters as anyone. Part of what people respond
to when they think of Rip is Cole's just big, powerful,
physical presence. And something that's really fun to think about
is there have been a lot of different stunt doubles
(25:21):
who have also played that part over the years, who
have done specific different sequences. Rip has been involved in
about any kind of stunt you can think of, driving stuff,
gun fights, fist fights, horse stunts, and a lot of
different guys have stepped into those shoes and contributed to
that character that we all has become this sort of
(25:41):
larger than life icon. The same is certainly true for Casey,
the same is true for Jimmy. More than one person
has come in and bucked a horse pretending to be
Jimmy to save my little ass from getting broken half.
And it's just like, it's such a cool sort of
the community that brings this show to life is big,
(26:03):
and I think that it's really the whole thing is
impossible without our stunt performers. Part of what people respond
to about Yellowstone is how real it feels, How real
it feels these exciting sequences. It feels real and those
sequences look good because we have the best stunt performers
and stunt coordinators in the world.
Speaker 3 (26:22):
Well thanks but I honestly got to hand it to
you guys, because you guys have worked so hard to
do is to get as good as you guys have
on horses. I mean, we did those branding sequences this
last season. I think I don't think I used a
stunt person in any of those to drag calves and
rope and do all that stuff. That was all. That
(26:44):
was all cast members. You know, everybody was just dragging
calves and it was it was a really good It
was a really good time. And I mean, I mean,
I remember first season when I picked you up, Jeff,
to take you out to the Cowboy camp in Utah,
and I asked, I asked, so, so, Jeff, you wrote
been horses or anything? And Jeff just cheerfully goes, nope,
my first day. Go all right, cool, No.
Speaker 2 (27:08):
My first rodeo, this is my first rodeo.
Speaker 3 (27:13):
I was not word with Jeff because he's the first
one to go, hey, Jay Rod, I'm not feeling comfortable
with what I'm doing right now. I'm not feeling I'm like,
it's gonna be fine, don't worry about it. It's gonna
be great. You know, it's gonna be all right. Well,
cape is because I'm not really I'm not super comfortable
with this, and maybe we could just no, no, no, it's
gonna be great. You're gonna be fine.
Speaker 2 (27:33):
Don't lie, don't lie. You're always telling me. Hey, Jeff,
this looks a little too extreme. Maybe we should pull
it back, and I'm saying no, Jay Rod, stand down.
Tell Bobby to go smoke a cigarette, no problem.
Speaker 3 (27:46):
Yeah, keep my double away from me.
Speaker 2 (27:48):
I do all my Yeah, don't worry about that. Take
a break, Bobby.
Speaker 1 (27:52):
Hey, Jeff, speaking of a break, we gotta take a break.
Speaker 2 (27:57):
I got Jim with the transition. That was incredible. A break.
Speaker 1 (28:00):
But when we come back, we're going to talk to
j Rod more about stunts. I'm curious about times you've
actually maybe been afraid on set and how Yellowstone compares
to other things you've worked on in terms of how
much we push the envelope. So we'll be right back. Okay,
(28:29):
welcome back, guys.
Speaker 3 (28:31):
One.
Speaker 1 (28:31):
I don't know, Jeff, have I told the story before
about how I cried during the branding sequence. Oh, I'm
not sure if I told you what boring? We don't
have to tell, but I call it my There's no
crying in baseball moment from a.
Speaker 3 (28:44):
League of their own.
Speaker 1 (28:45):
I was supposed to heal during the branding sequence and
I only I'd only headed calves before, and uh, I
couldn't do it.
Speaker 2 (28:55):
And I was so mad.
Speaker 1 (28:57):
And we broke for lunch, and jay Rod was like,
and it's like lunch, you can go, and I'm like, no,
I'm good. And I was just like staying on the
horse and I kept trying and I kept missing, and
I knew that if I got off the horse and
looked jay Rod in the eye, I was going to
start sobbing. So he's just talking to me and I've
got my hat down and I'm like shaking my head
(29:18):
and I look up and I catch eye contact with
him because Jay Rod's a friend, and I start crying
like the girl in a league of their own. And
it wasn't that it was. And here's the thing, Sorry,
jay Rod, if you have like a real strong masculine
identity you need to uphold instead of pulling a Tom
Hanks and being like there's no crying in baseball, jay Rod, like,
(29:41):
tear it up a little because he's never seen me.
He's never seen me, You've probably never seen me cryer
be upset. I'm sort of like an emotion I don't
really have emotions, you know, I'm sort of dead inside.
So I think it just caught him off guard.
Speaker 3 (29:53):
You're I it did. It really did catch me off guard.
And by the way, I was told by you to
keep this. I was sworn to secrecy on this, so
now you're bringing it out into the open.
Speaker 1 (30:06):
But yeah, none of.
Speaker 3 (30:10):
You know, I could, honestly, I could. You are such
a good you are such a friend, and and uh
and I could feel your frustration, and it just it
it made me, you know, it made me feel bad
that you were feeling so bad. And yeah, I don't care.
I'm an emotional guy. What the hell, I'm fifty something
years old. I'm going to make any excuses for anything.
(30:30):
So and it just it moved me that you were
so passionate and so uh frustrated in the moment, that
you cared so much that uh, I mean because a
lot of actors would just like miss them and they go, oh,
well that's where my stun double takes me cared and
they don't care, but you just like wanted to do it,
so man.
Speaker 1 (30:50):
And then we hung in there and then it worked.
Speaker 3 (30:53):
Yeah, it worked. You got one and you drug it,
and I was behind I was behind the I was
behind the monitor with Christina. And when you caught one
and you're dragging it to the fire, I was like
jumping up and down, like I was so happy for
you to, you know, have the success that you did,
and I knew it would turn out good. But yeah,
(31:15):
it was a definitely a more even a bonding experience
jeh and I.
Speaker 2 (31:22):
See this is funny because when I broke down and cried,
jay Rod slapped me in the face. He put me
in a headlock and gave me a nuggie for fifteen
minutes production. We had to go on a break because
Jason gave me a nuggie for fifteen minutes.
Speaker 1 (31:39):
Jay Red, I don't know if you can't answer this question.
Have there ever been moments on set like has there
been or is there a distinct moment where you got
worried where you went where I mean or that might
just be a permanent state. But have you had moments that,
again are out of our control because we do take
calculated risk.
Speaker 3 (32:00):
Yeah, I mean I can't anytime we do something big
like that. There's a sequence where he chased buffalo at night,
and that that sequence worried me just because it was
night through this pasture and we couldn't you know, the
devils are chasing this buffalo and they run fast. I mean,
(32:20):
when you're chasing a buffalo, you're it. You're going as
fast as your horse can pack you. And that kind
of made me that that made me nervous. The the again,
the wild horse sequence that we did this season always
kind of makes me nervous. I always have a Jordan
(32:40):
work my right hand man, and he's out here running,
coordinating fasters and doing a really great job. I always
tell him I will always look at him sometimes when
I'm nervous and I'll go, here's where I see my
career flash before my eyes, and he always look at
me and go I hate it when you say that.
Speaker 1 (33:00):
For people who don't know about horses and the things
involved with that. Like one of the things that I've
come to have my own healthy fear about that I
didn't have before, And what has often felt to me
to be the most dangerous part of the show is running.
Is even just loping a horse through a field that
is thick and brush that has holes that we might
(33:21):
not see that seems to be the thing that I
always because the rest of it, I feel like we
can control and choreograph and we obviously check those fields.
Speaker 3 (33:32):
But yeah, I mean we check them and do and
do our due diligence to make it absolutely safe for
the horses and the riders and everything. But still, yeah,
those are the times. Those are the times that I
just get a little worried about it. But ultimately I
trust our prep and I trust our actors and stuntman
(33:55):
and just kind of don't worry about it.
Speaker 1 (34:00):
My favorite stunt that we did together, j Rod, was
it'll It'll probably always be the Season three biker sequence.
Oh yeah, I was on cloud nine by the end
of that day. I mean, I was tired. We had
done it, yeah, so many times. But that was so fun.
(34:22):
And I got to work with your brother, who I
love who uh yeah he looks you guys. He looks
like j Rod, but like parallel universe j Like the
eyes are the same, but nothing else you got.
Speaker 3 (34:36):
You got to bite him right he did him? Yeah? Yeah,
that's good. Yeah, Yeah, it was fun. That was That
was a fun sequence and Jen. That was Jen's first season,
so I got her a double I had I had
a double for her just standing by because I didn't know,
you know, I didn't know Jen yet and everything and
those guys and I remember huh, Denn and Ian going, Hey,
(35:01):
where the hell's are double? I go, I know you guys,
you'll be fine, and he was going, I hate getting
slammed around and stuff like that, and I go, you'll
be fine, suck it up, get in there, and my
stunt guys beat the hell out of them, and they
had no doubles of Jens double standing over there. And
I knew once I got to really know Jen and
I saw her that day, I go, oh, we're gonna
(35:22):
have to double it for this stuff again, because she
just loves it and thinks it's the greatest thing ever.
Speaker 1 (35:27):
I get so mad when I don't have enough fight stuff.
I'm like, no, like this is I live for this.
Speaker 3 (35:33):
You scarcely get into the fighting way too enthusiastically, like
the bar fight, this secret the bar fights. This year.
Jen was like she's running around and the rehearsals and
like as she'd dispatched with her guys, she'd grab somebody
else on the floor and smack him in the back
of the head. And I mean she owns it.
Speaker 1 (35:57):
J Rud does. And I want you to lie about
this if the answer is no, But does Yellowstone push
the envelope more than other shows that you've worked on
in this sort of horse stunt area? Do we do
more than other people? And if the answer is no,
(36:19):
I want you to lie.
Speaker 3 (36:20):
No, no, no, no, I don't have to lie. Believe
this is it's the scripts that Taylor writes require more.
I don't know what you want to say balls this book,
whatever you want to say, yeah, to accomplish the The
(36:41):
and the thing of it is is it's not like
when you look at it, it's not like you know,
you think a huge action stuff. It's like Marvel movies
and you know, Michael Bate and stuff like that. Those stuff.
That stuff is very rehearsed, very calculated, very you know,
all the bugs are worked out of that before the
performers even come on and start to do it. It's
very specific. Like I said, with our stuff, it's like
(37:05):
we just we just do it. We just you know,
throw twenty buffalo in the field and tell the guys
to go chase them, you know, or we or we
you know, just all that stuff is you know like
I said, it's calculated in a way that I know
the horses, I know the elements, I know everything, and
(37:27):
I've and I've worked out every possible scenario in my
head of what could possibly go wrong and then eliminated that,
and so it's it's safe in that regard, But ultimately
it's uh yeah, I mean when I first started on
the show, there was a lot of like, we're really
going to do this, Uh this is you know, And
(37:47):
now I kind of I kind of just relax into
it and know that you guys have been trained enough,
and then the stunt guys that I hire going to
be perfect and thing is going to be.
Speaker 1 (38:00):
Great on that friend, Jared, just because you actually are
such a good director, did you pick up or just
start thinking like a director when you started coordinating stunt
things and just innately started thinking about it from like
a camera standpoint, You had to almost think about the
(38:23):
scene as a whole in order to know like where
you were going to put things, et cetera.
Speaker 3 (38:28):
Yeah, I mean that's that's how I like to coordinate,
and I have that background, and what important to me,
especially with the Yellowstone, is not only like serving the action,
but serving the script and the and the the actor
in their in their character and the progression of whatever
(38:48):
that is. So when even in action sequences, to me,
it's just an extension of the story. And if you
don't put the story pieces in or if it rings
faults with what if it rings faults with the character,
it doesn't do any good to be the greatest action
sequence ever and not not push, not move the story forward.
(39:09):
So I think a lot about that stuff. In fact,
this season, one of my favorite things that we did
was that fight between Beth and Summer because I really
got We rehearsed it quite a bit, and I really
got to work with Kelly and Piper and we had
these really cool talks about character and what Beth would
(39:30):
do here and what Summer would do and how, and
it was really a great I enjoyed it immensely because
it was this great collaboration of you know, even if
it was you know, small stuff. When when Rip comes
out to break the fight up, Kelly goes, I want
to get off of her, but I think Beth wouldn't
just like stand up, and I go, well, One really
(39:51):
crappy thing is when you're in mma fight and stuff
and when the bell rings. I go, you can push
off of the push your push off the guy like
he's help, Like you're pushing off of him to stand up.
And she goes, oh that, I go, so why don't
you just grab Piper's face and just shover her like
get up using her face to stand up? And Kelly
(40:13):
was like, oh my god, that's great, and so she
did it and it was all you know, it's then
it's fun to see it that it worked in the
final cut and they acted it so well, and I
mean those girls went at it for two nights, but
it was but again it was back to it was
a it was an ability and a scene like that
to really you really serve their characters, you know, even
(40:38):
though it's a big action, you know, a big fight.
Speaker 2 (40:42):
I think that really speaks to that that happens throughout
the series because you know, there are so many bad
asses on Yellowstone, but they all have a sort of
distinct personality and that translates into their sort of style
of violence, you know, which is an interesting thing to
talk about. But it's like Rip fights different than Casey fights,
different than Walker fights, different than Bet, And it's so
(41:04):
cool to see their personalities and the circumstances their characters
grew up in affect the way they engage in these sequences.
I think that's part of what's so gratifying about Season four,
episode one of Yellowstone, when Casey just pops the fuck off,
because you see the years that he spent engaged in
(41:24):
special operations exactly, you see it for the first time.
You see that switch really flip, and he goes into
a completely different No.
Speaker 3 (41:33):
Yeah, you can absolutely see that he's been shot out
for real. This isn't the first gunfight he's ever been in,
you know.
Speaker 2 (41:39):
And yeah, and that's so different than like Rip, how
Rip handles these things. You know, Rip kind of runs
headlong into these conflicts, whereas Casey kind of turns into
this well trained machine exactly.
Speaker 3 (41:51):
Yeah, yeah, it is a that's not That's what's fun
about doing these sequences is you get to kind of
think about that. You know, when when Rip, I can't
remember what episode there's when Rip comes in and saves
Beth from being raped by the Beck Brothers, bad guys
and stuff, is you know, he just the guy turns
(42:12):
a gun on him and he just smashes through the
window and just can continues forward and takes the gun
and slams the guy through the floor. And I mean
it's just that's just how Rip where Casey would have
probably you know, came in and got a good angle
on him and taken him out. You know.
Speaker 2 (42:27):
So it's Rip's not very tactical, just kind of he's
the bull, he's the bowl playing cowboy poker. He's going
through you.
Speaker 3 (42:35):
Yeah, yeah, which is always always fun to work with
Cole and stuff like that. It's it's it's pretty fun.
My stunt guy's hate doing fights with Cole because he's
so big and strong, and doesn't you know when he
when I say through the guy through the floor, that
(42:56):
was a guy ritten off it. And I mean when Rip,
when Cole picked him up and slammed him onto the floor,
the whole like it felt like the whole second story
shook like it was. It was. It was not pleasant.
Speaker 2 (43:11):
Yeah, thanks for everything you do for us, obviously for
years and years now. We feel so lucky to have
you with us. And thanks for taking the time today.
You're a very busy man.
Speaker 3 (43:21):
Thanks for having me. I appreciate it.
Speaker 1 (43:23):
I miss you, guys, I miss you.
Speaker 2 (43:28):
It was an incredible gift to talk to Jay Rod
obviously somebody that Jen and I admire very much. If
you couldn't hear it in our voices, we feel so
so lucky. We also feel incredibly lucky to have you
the listener with us every week. Thank you so much
for being here. It really means the world, and we'll
see you real soon. The Official Yellowstone Podcast is a
(43:50):
production of one oh one Studios and Paramount. This episode
was produced by Scott Stone. Brandon Goetchis is the head
of Audio for one oh one Studios. Steve Rasis is
the executive vice president of the Paramount Global Podcast Group.
Special thanks to Megan Marcus, Jeremy Westfall, Ainslie Rosito, Andrew Sarnow,
Jason Red and Whitney Baxter from Paramount, and of course
(44:10):
David Glasser, David Huckin and Michelle Newman from one oh
one Studios
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