Another Yellowstone spin-off is also due to premiere next year -6666, set at the legendary Four Sixes Ranch. A prequel, 1883, came out late last year, and will soon be followed by two more: 1923, which will launch in December, as well as Bass Reeves, which is slated for next year. He helped Paramount’s new streaming service, Paramount+, gain millions of new subscribers with multiple spin-offs of Yellowstone. The latest season of Yellowstone was the most-watched show on television last year besides NFL football. At 52, he is now the heavy-handed sovereign of perhaps the most important one on television. So does morality factor into the defense of the kingdom? And what does that make the king? And at the end of the day, that’s really what the show is about.” “Because anyone trying to take your kingdom and remove you as king is going to replace your morality for theirs. “This was one of the fundamental things I wanted to look at: When you have a kingdom, and you are the king, is there such a thing as morality?” Sheridan told me when we spoke last summer. (A lot of people get murdered on Yellowstone.) Dutton is watching his way of life slip away, his family along with it, and he is willing to do anything to hold on to both, no matter how bloody the cost. Dutton, the owner of the largest contiguous ranch in Montana, finds himself, like Tony Soprano, battling members of his own family as well as forces from the outside: Native Americans who want to build a casino on the land abutting his ranch carpetbagging developers from California and New York who want to build golf courses and a ski resort and luxury housing and a new airport and even a whole new city. What most attracted them was the script, which in its premise and sweep had echoes of The Sopranos, but with Western trappings. And they liked the fact that Kevin Costner had signed on to play Yellowstone’s lead character, John Dutton. But they were impressed by the cut Glasser had shown them of Wind River-the third movie Sheridan had written about the contemporary American frontier, following Sicario (2015) and Hell or High Water(2016), and the first one of them he had directed. They were crazy to accept Sheridan’s terms. “You’re going to be writing a check for horses that’s $50–$75,000 a week.” You really want to do this? “It’s going to cost $90–$100 million,” he says he told them. There will be no notes from studio executives. I will write and direct all the episodes of the show. You will have no part in any of this, he told them-except for footing the bill. You’re going to be writing a check for horses that’s $50–$75,000 a week.” You really want to do this? But what Sheridan delivered was less a pitch than a warning. Glasser had finally gotten Sheridan in a room with Viacom executives. To coax him into attending the meeting, Glasser had to fly him there by private jet and promise him that he wouldn’t have to spend the night in L.A., a city Sheridan had come to hate. When Glasser had asked him to come to Hollywood for the pitch meeting, the screenwriter had at first refused to leave his home in Park City, Utah. Sheridan, however, was threatening to derail the whole thing. Viacom was preparing to launch a new cable channel, the Paramount Network, and it needed original shows. Still, he had pressed on.įinally, Glasser had attracted some interest. He’d helped Sheridan pry the show from HBO-taking Yellowstone to potential alternative suitors, from whom he’d gotten a series of polite, and not so polite, passes. Glasser had seen the potential in the Yellowstone script, and in Sheridan, who had left behind his career as a character actor to write full-time. Check out more from this issue and find your next story to read.
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