YOU my friend...
should SERIOUSLY be a casting director.
that is brilliant bold and brave casting.
smart creative and strong
DC would NEVER do it.
Official JUSTIFIED Discussion Thread UPDATE: They BACK new mini series! Justified: City Primeval
- Thread starter playahaitian
- Start date
YOU my friend...
should SERIOUSLY be a casting director.
that is brilliant bold and brave casting.
smart creative and strong
DC would NEVER do it.
As an actor I believe he could pull it off, but that southern dialect is just too strong!
a good actor can do accents
Vice Principals' Walton Goggins Lets Us Peer Inside of His Brain for the Afternoon
And he holds nothing back.
MOST POPULAR
Game of Thrones Fans Noticed a Subtle Confirmation of a Popular Sam Tarly Theory
John McCain Doesn't Know What He's Voting for Either
Christopher Nolan Explains Why Tom Hardy Covers His Face in Films
Getty
BY ERIC SULLIVAN
JUL 25, 2016
Shortly after arriving at the restaurant at which we're meeting, the veteran of screens both big and small—he's had memorable roles in Justified, The Shield, Django Unchained, The Hateful Eight, and, most recently, alongside Danny McBride in HBO's Vice Principals—says,"I was thinking about this interview on the way over here: What am I gonna say to him? I'm not trying to impress him or not impress him. I'm gonna show up because he asked me to be here, and I'm gonna be here."
It wasn't supposed to happen this way. We were originally scheduled to talk over the phone the day before, but he was caught up at a fitting for a film and called to apologize, asking instead if we could meet in person the next day. So here we are, at the bar in the middle of a steaming-hot summer afternoon, to discuss not just his new show—about two vice principals trying to take down the newly minted principal of their high school, played by Kimberly Herbert Gregory—but also about the ways he's organized his life to remain a balanced and productive actor, friend, husband, and father. He more than showed up; he opened his heart and mind and let us both peer inside.
ESQUIRE: The centerpiece of the second episode of Vice Principals, which aired last night, was an extended scene in which Lee and Neal destroy the principal's home. Was filming that scene fun?
Walton Goggins: It was glorious. Here's the thing about episode two of Vice Principals: You will not finish it without feeling like breaking shit.
I've admired Danny McBride from afar for a very long time. I don't have to do that anymore because he's now like a brother. I love the man. What this show will do for him, which I'm so excited about, is affirm his abilities in people's minds. This is all him—he wrote it with his writers, but it's his voice.
He and Jody Hill tapped into something with Foot Fist Way that has now come to pass in this country: the disenfranchised angry white American male. And whether they saw it coming or whether that's just what they found funny—whether they are a reflection of their times or they are a precursor—all of the sudden it's coalesced into this moment. It's sublime. When people see that this isn't just the fall semester, which is the first season, but it is fall and spring semesters—a full year of school with this faculty led by these two vice principals and the principle, Dr. Belinda Brown, played by Kimberly Herbert Gregory—you will not expect to be having the emotions you will be having in episode eighteen.
Goggins' Lee Russell, Danny McBride's Neal Gamby
Courtesy of HBO
The show has received flak for portraying two white males trying to take down a powerful black woman. How do you take that?
I take that as a lazy writer and a lazy description of what the show is about. They write based on what they see in a couple of episodes. Can you judge a book on the first couple of chapters? I suppose they don't have a choice, but it's much deeper than what they've seen.
But you can't be surprised by that feedback in 2016.
There were those conversations, for sure. This story isn't about what you see at first glance—two white men against a black woman. This is a story about the destructive drive and absurd need some people feel to acquire power. And American capitalism has become that. It has become about one's access to power, and one's position of power, as opposed to an approach like: "Let's just listen to what everyone has to say. Collaboration is a good thing."
ADVERTISEMENT - CONTINUE READING BELOW
And in some ways, Neal Gamby and Lee Russell are as much a reflection of the three pillars of our democracy—our country's faculty—and the conversations they have on a daily basis. Let's say we have three vice principals—the Supreme Court, Congress, and the president. And they spend their days bickering amongst themselves while most of us—regardless of what side of the political argument you're on—are pretty fucking reasonable. And they happen to be the students at North Jackson High School. They're just trying to get through their day. They're trying to get their backpack from one classroom to another.
Kimberly Herbert Gregory as principle Dr. Belinda Brown.
Courtesy of HBO
If Lee were voting, would he vote for Trump?
I think Lee Russell would vote for himself. He'd write his name in on the ballot.
How did you get to this project?
I auditioned for a role in Eastbound & Down. I rolled up and there were five comedians from Saturday Night Live in the waiting room and I thought, What the fuck am I doing here? But I was thoroughly a fan when it came to these guys' work—Danny, Jody Hill, and David Gordon Green. I just wanted to meet Danny and say his words in front of him. I had no attachment to getting the job or not getting the job. We ended up having a really good time in the room. I think that they were a fan of my work. And while that one didn't work out, when it came to Vice Principals, they wanted me to consider Lee Russell. They sent me scripts for the first three episodes. I read the first and thought that it was one of the best comedies I think I've read. I looked at it as a drama that happened to be very, very funny. So we talked on the phone, and I knew what my version of Lee Russell was, and it turned out to be exactly what they were looking for.
Getty
How do you feel about being seen as so often cast as a villain?
I think it's a blessing, not a curse. "Villain," to me, is a neon sign for three-dimensionality. Good guys more often than not are much more boring than villains, as long as you can unearth a villain's humanity. I'm really not interested in just playing a guy who walks around with a gun killing people, unless he has some humanity, too, and there's a reason behind why he's doing it.
And I don't know that anything I do is overtly a villain. People ask me to do this very nuanced, tenuous tightrope walk between a fallible human being who is just in some ways trying to overcome that fallibility. Take Vice Principals. This appears to be a show about the declining influence of the white American male, and whether or not he really has an argument. And Lee and Neal appear to be very bad guys. But once you watch it as an entire piece, what you realize is that it's really a story about friendship. And their redemption comes through their vulnerability and creating a connection with a person who is just as dysfunctional as they are, which allows them to become productive members of the world.
"'VILLAIN,' TO ME, IS A NEON SIGN FOR THREE-DIMENSIONALITY."
Do you have a process when it comes to acting?
I don't believe you memorize lines. I believe that you memorize thoughts. Anthony Hopkins, who's an old friend—I got to spend the better part of two months of him when I was 28, 29 years old while we were doing a movie called The World's Fastest Indian—he was kind enough to let this very curious young man say, "How the fuck do you do what you do?" I had this same conversation with [Robert] Duvall when I did The Apostle with him. By now I've worked with five or six of my heroes. Hopkins said to me, "I read the script 300 times." And I said, "Come on, man. What if you're just walking into a convenience store and buying a six-pack of beer and you say 'How much is that?'" And he said, "Oh, I read that 250." My mentor, Harry Mastrogeorge, with whom I studied for the better part of a decade, espoused similar advice to what the five greats told me.
ADVERTISEMENT - CONTINUE READING BELOW
Getty
How has it changed the way you think?
I think people are who they are and that it's impossible for someone to change. But what I also believe is that the thoughts that aren't working for you should get rotated to the back of your head. And if you decide on a daily basis to water the seeds that are of use, then you'll move in a different direction. But you always have the capability to be that other person, who will rear his head once or twice a day. And it's like, "Wait, I don't want to water that, I want to water this!"
Say you're married for five years and you got a divorce. Well, did you really like her? Did you really listen to her? Did you see her for who she really was? 'Cause I didn't at that time in my life, and now I do. I've been with my significant other for 11 years. And I know her. And she knows me. And I am fucked up. And my wife is fucked up. But goddamn it, I love her for it. I love her. I understand her.
L-R: Georgia King, David Gordon Green, Jody Hill, Kimberly Hebert Gregory, Danny McBride and Walton Goggins
Getty
And I think the same about myself before I learned this other way of working. All of it was there, I just didn't have a mentor to show me the way. Eventually, you come across people in this business who feel, as I feel, an inherent responsibility to passing along this knowledge to those who have the ears to hear it. And that's certainly what happened to me—it was a matter of reorganizing the thoughts I already had.
Nine times out of ten I wake up with a smile on my face. I am an early riser, and I wake up thinking anything is possible. Throughout the day it can get negative, and you react to it, and you try to temper that reaction or move past it. But I gave myself permission when this transition happened to fucking fall in love with myself. I genuinely like me. And I think I'm a great person. So often than not you're labeled conceited for saying that. Why would you get uncomfortable with a person who says, "I genuinely have taken the time to find out who I am"?
Nine of ten mornings you wake up happy. What do you do on that tenth morning?
Try to sleep another hour. [Laughs] See what happens when I wake up next.
"NINE TIMES OUT OF TEN I WAKE UP WITH A SMILE ON MY FACE."
So you've been able to find balance?
"Normal" is a word that has no definition. It should be taken out of the English language. It has done far more harm than good. Let's change it to mitakuye oyasin, which in Lakota means "all my relations." Let's just use that. We're all striving for that. But that's the exception. The rule is that everyone is trying to make their way through the day the best they fucking can. And then hopefully, even if it's seconds before we check out of this planet, we have this moment where it is like, I am very clear about everything that is happening in my life right now.
Goggins as Lee Russell.
Courtesy of HBO
I've never needed to be right. And I've never cared about being wrong. But what I've cared about is seeing a situation for what it really is. And that begins for me with making myself a priority. First thing in the morning it's like, How are you feeling, man? If I am happy, my wife is happy. My son is happy. My friends know they have a harbor they can come to. I have everything in the world to give if I am in a good place. It usually only takes five or six minutes. And I have boundaries throughout the day—not reactionary boundaries, but boundaries that have been gained through years of experience to recognize something that I won't allow to be a part of my life anymore.
Describe a boundary.
If you show up as another actor and you aren't there to leave everything on the field, if you're looking at your fucking cell phone in between takes, then that's a real problem for me. A boundary for me is preparation. I've been around enough actors to recognize who hasn't done the work, and who has. Forest Whitaker is a killer. Chris Cooper is a killer. Duvall is a killer. Tony Hopkins is a fucking killer. Jennifer Jason Leigh is a killer. Tim Roth is a killer. Sam Jackson is a killer. Michael Chiklis? A killer.
So when I come across a person who isn't there to work, especially a person who is a little less experienced, I have no problem saying, "What the fuck is wrong with you? Leave that fucking camera rolling." And it's usually extremely liberating to them, because no one has said it to them before. No one has had to say it to me, because that's how I show up for everything in my life. A dinner, this interview.
Do you have difficulty leaving that intensity on set?
How does a policeman do it, or a Wall Street banker? For me, I don't leave a day of work that I'm not exhausted. It is the drive from set to home that is my transition. I walk in and I have a cigarette—I don't give a shit about the warnings, it's my life, it's what I do—and I'll have a whiskey or a beer and find a space for a moment of alone time for ten minutes, which allows me to enter my civilian life.
"IF YOU SHOW UP AS ANOTHER ACTOR AND YOU'RE LOOKING AT YOUR FUCKING CELL PHONE IN BETWEEN TAKES, THEN THAT'S A REAL PROBLEM FOR ME."
I'm sure your wife and son appreciate you taking that time.
I know that my greatest contribution to this planet will be the son that my wife and I are raising. And I know more than anything that if he is raised with love and respect and an appreciation of his autonomous nature, and his lack of need or want—and this has nothing to do with money, this is about being there for him. You're OK, man. You don't have to spend the time that I and a lot of others spent just trying to reach the surface of the water, just to swim. My son doesn't have to experience that. He knows that he is loved, that he is protected, that he listened to, that he is respected. And therefore his mind is free to invent a world is better than the one we live in.
Fred Norris
How old is he now?
Five years old. He starts Kindergarten this fall. Thankfully he got in before Vice Principals was released. Because I don't know if they're going to let me in schools after this.
How old were you when you found a balance in your life?
Thirty-four years old! That's fucking old, man.
How did you get there?
When my wife and I were dating, and it was a very tumultuous time in my life, we were talking one night, as we do. That's one of the greatest joys of my relationship—sitting and talking an hour or two a night about everything. She was talking about this story she was working on about a revolutionary's point of view—she happens to be very politically motivated. And she was talking about the injustices of the world in a very passionate way and the revolution that needs to happen, and I looked at her and I said, "You know, I too am a revolutionary. But I'm just trying to change myself." If people approach it from that point of view, the world would be a much better place.
How do you have the tools to change?
There is no silver bullet. Each person will at some point reach a bottom where they'll think, I don't want to live my life this way anymore. And I don't know that they'll have the answer once they make that statement, but they'll be asking the right question.
"I KNOW THAT MY GREATEST CONTRIBUTION TO THIS PLANET WILL BE THE SON THAT MY WIFE AND I ARE RAISING."
That's what happened to me. Mine happened to take place in India. It wasn't Eat, Pray, Love. It was that I was running away from shit for so long where I couldn't run anymore. On the steps of the ghats in Varanasi, I started crying uncontrollably, surrounded by all these people, overlooking the Ganges. And I said, "I can't do this anymore. I don't want to be this guy anymore." And I didn't know how to water those thoughts. But because I made that statement, then things just start happening. Once you make that decision, the path will be illuminated. You will stumble continuously. But you will be walking toward something, as opposed to running away from something. And I'd rather spend the rest of my life walking towards a light that I never reach than running from a light that is causing me this much pain.
Have you been back to Varanasi?
No. There's no need—I'm not asking those same questions anymore. And I don't have the time—I have a fucking five-year-old.
http://www.esquire.com/entertainment/tv/news/a46993/walton-goggins-vice-principals-danny-mcbride/
And he holds nothing back.
MOST POPULAR
Game of Thrones Fans Noticed a Subtle Confirmation of a Popular Sam Tarly Theory
John McCain Doesn't Know What He's Voting for Either
Christopher Nolan Explains Why Tom Hardy Covers His Face in Films
Getty
BY ERIC SULLIVAN
JUL 25, 2016
2.7k
Shortly after arriving at the restaurant at which we're meeting, the veteran of screens both big and small—he's had memorable roles in Justified, The Shield, Django Unchained, The Hateful Eight, and, most recently, alongside Danny McBride in HBO's Vice Principals—says,"I was thinking about this interview on the way over here: What am I gonna say to him? I'm not trying to impress him or not impress him. I'm gonna show up because he asked me to be here, and I'm gonna be here."
It wasn't supposed to happen this way. We were originally scheduled to talk over the phone the day before, but he was caught up at a fitting for a film and called to apologize, asking instead if we could meet in person the next day. So here we are, at the bar in the middle of a steaming-hot summer afternoon, to discuss not just his new show—about two vice principals trying to take down the newly minted principal of their high school, played by Kimberly Herbert Gregory—but also about the ways he's organized his life to remain a balanced and productive actor, friend, husband, and father. He more than showed up; he opened his heart and mind and let us both peer inside.
ESQUIRE: The centerpiece of the second episode of Vice Principals, which aired last night, was an extended scene in which Lee and Neal destroy the principal's home. Was filming that scene fun?
Walton Goggins: It was glorious. Here's the thing about episode two of Vice Principals: You will not finish it without feeling like breaking shit.
I've admired Danny McBride from afar for a very long time. I don't have to do that anymore because he's now like a brother. I love the man. What this show will do for him, which I'm so excited about, is affirm his abilities in people's minds. This is all him—he wrote it with his writers, but it's his voice.
He and Jody Hill tapped into something with Foot Fist Way that has now come to pass in this country: the disenfranchised angry white American male. And whether they saw it coming or whether that's just what they found funny—whether they are a reflection of their times or they are a precursor—all of the sudden it's coalesced into this moment. It's sublime. When people see that this isn't just the fall semester, which is the first season, but it is fall and spring semesters—a full year of school with this faculty led by these two vice principals and the principle, Dr. Belinda Brown, played by Kimberly Herbert Gregory—you will not expect to be having the emotions you will be having in episode eighteen.
Goggins' Lee Russell, Danny McBride's Neal Gamby
Courtesy of HBO
The show has received flak for portraying two white males trying to take down a powerful black woman. How do you take that?
I take that as a lazy writer and a lazy description of what the show is about. They write based on what they see in a couple of episodes. Can you judge a book on the first couple of chapters? I suppose they don't have a choice, but it's much deeper than what they've seen.
But you can't be surprised by that feedback in 2016.
There were those conversations, for sure. This story isn't about what you see at first glance—two white men against a black woman. This is a story about the destructive drive and absurd need some people feel to acquire power. And American capitalism has become that. It has become about one's access to power, and one's position of power, as opposed to an approach like: "Let's just listen to what everyone has to say. Collaboration is a good thing."
ADVERTISEMENT - CONTINUE READING BELOW
And in some ways, Neal Gamby and Lee Russell are as much a reflection of the three pillars of our democracy—our country's faculty—and the conversations they have on a daily basis. Let's say we have three vice principals—the Supreme Court, Congress, and the president. And they spend their days bickering amongst themselves while most of us—regardless of what side of the political argument you're on—are pretty fucking reasonable. And they happen to be the students at North Jackson High School. They're just trying to get through their day. They're trying to get their backpack from one classroom to another.
Kimberly Herbert Gregory as principle Dr. Belinda Brown.
Courtesy of HBO
If Lee were voting, would he vote for Trump?
I think Lee Russell would vote for himself. He'd write his name in on the ballot.
How did you get to this project?
I auditioned for a role in Eastbound & Down. I rolled up and there were five comedians from Saturday Night Live in the waiting room and I thought, What the fuck am I doing here? But I was thoroughly a fan when it came to these guys' work—Danny, Jody Hill, and David Gordon Green. I just wanted to meet Danny and say his words in front of him. I had no attachment to getting the job or not getting the job. We ended up having a really good time in the room. I think that they were a fan of my work. And while that one didn't work out, when it came to Vice Principals, they wanted me to consider Lee Russell. They sent me scripts for the first three episodes. I read the first and thought that it was one of the best comedies I think I've read. I looked at it as a drama that happened to be very, very funny. So we talked on the phone, and I knew what my version of Lee Russell was, and it turned out to be exactly what they were looking for.
Getty
How do you feel about being seen as so often cast as a villain?
I think it's a blessing, not a curse. "Villain," to me, is a neon sign for three-dimensionality. Good guys more often than not are much more boring than villains, as long as you can unearth a villain's humanity. I'm really not interested in just playing a guy who walks around with a gun killing people, unless he has some humanity, too, and there's a reason behind why he's doing it.
And I don't know that anything I do is overtly a villain. People ask me to do this very nuanced, tenuous tightrope walk between a fallible human being who is just in some ways trying to overcome that fallibility. Take Vice Principals. This appears to be a show about the declining influence of the white American male, and whether or not he really has an argument. And Lee and Neal appear to be very bad guys. But once you watch it as an entire piece, what you realize is that it's really a story about friendship. And their redemption comes through their vulnerability and creating a connection with a person who is just as dysfunctional as they are, which allows them to become productive members of the world.
"'VILLAIN,' TO ME, IS A NEON SIGN FOR THREE-DIMENSIONALITY."
Do you have a process when it comes to acting?
I don't believe you memorize lines. I believe that you memorize thoughts. Anthony Hopkins, who's an old friend—I got to spend the better part of two months of him when I was 28, 29 years old while we were doing a movie called The World's Fastest Indian—he was kind enough to let this very curious young man say, "How the fuck do you do what you do?" I had this same conversation with [Robert] Duvall when I did The Apostle with him. By now I've worked with five or six of my heroes. Hopkins said to me, "I read the script 300 times." And I said, "Come on, man. What if you're just walking into a convenience store and buying a six-pack of beer and you say 'How much is that?'" And he said, "Oh, I read that 250." My mentor, Harry Mastrogeorge, with whom I studied for the better part of a decade, espoused similar advice to what the five greats told me.
ADVERTISEMENT - CONTINUE READING BELOW
Getty
How has it changed the way you think?
I think people are who they are and that it's impossible for someone to change. But what I also believe is that the thoughts that aren't working for you should get rotated to the back of your head. And if you decide on a daily basis to water the seeds that are of use, then you'll move in a different direction. But you always have the capability to be that other person, who will rear his head once or twice a day. And it's like, "Wait, I don't want to water that, I want to water this!"
Say you're married for five years and you got a divorce. Well, did you really like her? Did you really listen to her? Did you see her for who she really was? 'Cause I didn't at that time in my life, and now I do. I've been with my significant other for 11 years. And I know her. And she knows me. And I am fucked up. And my wife is fucked up. But goddamn it, I love her for it. I love her. I understand her.
L-R: Georgia King, David Gordon Green, Jody Hill, Kimberly Hebert Gregory, Danny McBride and Walton Goggins
Getty
And I think the same about myself before I learned this other way of working. All of it was there, I just didn't have a mentor to show me the way. Eventually, you come across people in this business who feel, as I feel, an inherent responsibility to passing along this knowledge to those who have the ears to hear it. And that's certainly what happened to me—it was a matter of reorganizing the thoughts I already had.
Nine times out of ten I wake up with a smile on my face. I am an early riser, and I wake up thinking anything is possible. Throughout the day it can get negative, and you react to it, and you try to temper that reaction or move past it. But I gave myself permission when this transition happened to fucking fall in love with myself. I genuinely like me. And I think I'm a great person. So often than not you're labeled conceited for saying that. Why would you get uncomfortable with a person who says, "I genuinely have taken the time to find out who I am"?
Nine of ten mornings you wake up happy. What do you do on that tenth morning?
Try to sleep another hour. [Laughs] See what happens when I wake up next.
"NINE TIMES OUT OF TEN I WAKE UP WITH A SMILE ON MY FACE."
So you've been able to find balance?
"Normal" is a word that has no definition. It should be taken out of the English language. It has done far more harm than good. Let's change it to mitakuye oyasin, which in Lakota means "all my relations." Let's just use that. We're all striving for that. But that's the exception. The rule is that everyone is trying to make their way through the day the best they fucking can. And then hopefully, even if it's seconds before we check out of this planet, we have this moment where it is like, I am very clear about everything that is happening in my life right now.
Goggins as Lee Russell.
Courtesy of HBO
I've never needed to be right. And I've never cared about being wrong. But what I've cared about is seeing a situation for what it really is. And that begins for me with making myself a priority. First thing in the morning it's like, How are you feeling, man? If I am happy, my wife is happy. My son is happy. My friends know they have a harbor they can come to. I have everything in the world to give if I am in a good place. It usually only takes five or six minutes. And I have boundaries throughout the day—not reactionary boundaries, but boundaries that have been gained through years of experience to recognize something that I won't allow to be a part of my life anymore.
Describe a boundary.
If you show up as another actor and you aren't there to leave everything on the field, if you're looking at your fucking cell phone in between takes, then that's a real problem for me. A boundary for me is preparation. I've been around enough actors to recognize who hasn't done the work, and who has. Forest Whitaker is a killer. Chris Cooper is a killer. Duvall is a killer. Tony Hopkins is a fucking killer. Jennifer Jason Leigh is a killer. Tim Roth is a killer. Sam Jackson is a killer. Michael Chiklis? A killer.
So when I come across a person who isn't there to work, especially a person who is a little less experienced, I have no problem saying, "What the fuck is wrong with you? Leave that fucking camera rolling." And it's usually extremely liberating to them, because no one has said it to them before. No one has had to say it to me, because that's how I show up for everything in my life. A dinner, this interview.
Do you have difficulty leaving that intensity on set?
How does a policeman do it, or a Wall Street banker? For me, I don't leave a day of work that I'm not exhausted. It is the drive from set to home that is my transition. I walk in and I have a cigarette—I don't give a shit about the warnings, it's my life, it's what I do—and I'll have a whiskey or a beer and find a space for a moment of alone time for ten minutes, which allows me to enter my civilian life.
"IF YOU SHOW UP AS ANOTHER ACTOR AND YOU'RE LOOKING AT YOUR FUCKING CELL PHONE IN BETWEEN TAKES, THEN THAT'S A REAL PROBLEM FOR ME."
I'm sure your wife and son appreciate you taking that time.
I know that my greatest contribution to this planet will be the son that my wife and I are raising. And I know more than anything that if he is raised with love and respect and an appreciation of his autonomous nature, and his lack of need or want—and this has nothing to do with money, this is about being there for him. You're OK, man. You don't have to spend the time that I and a lot of others spent just trying to reach the surface of the water, just to swim. My son doesn't have to experience that. He knows that he is loved, that he is protected, that he listened to, that he is respected. And therefore his mind is free to invent a world is better than the one we live in.
Fred Norris
How old is he now?
Five years old. He starts Kindergarten this fall. Thankfully he got in before Vice Principals was released. Because I don't know if they're going to let me in schools after this.
How old were you when you found a balance in your life?
Thirty-four years old! That's fucking old, man.
How did you get there?
When my wife and I were dating, and it was a very tumultuous time in my life, we were talking one night, as we do. That's one of the greatest joys of my relationship—sitting and talking an hour or two a night about everything. She was talking about this story she was working on about a revolutionary's point of view—she happens to be very politically motivated. And she was talking about the injustices of the world in a very passionate way and the revolution that needs to happen, and I looked at her and I said, "You know, I too am a revolutionary. But I'm just trying to change myself." If people approach it from that point of view, the world would be a much better place.
How do you have the tools to change?
There is no silver bullet. Each person will at some point reach a bottom where they'll think, I don't want to live my life this way anymore. And I don't know that they'll have the answer once they make that statement, but they'll be asking the right question.
"I KNOW THAT MY GREATEST CONTRIBUTION TO THIS PLANET WILL BE THE SON THAT MY WIFE AND I ARE RAISING."
That's what happened to me. Mine happened to take place in India. It wasn't Eat, Pray, Love. It was that I was running away from shit for so long where I couldn't run anymore. On the steps of the ghats in Varanasi, I started crying uncontrollably, surrounded by all these people, overlooking the Ganges. And I said, "I can't do this anymore. I don't want to be this guy anymore." And I didn't know how to water those thoughts. But because I made that statement, then things just start happening. Once you make that decision, the path will be illuminated. You will stumble continuously. But you will be walking toward something, as opposed to running away from something. And I'd rather spend the rest of my life walking towards a light that I never reach than running from a light that is causing me this much pain.
Have you been back to Varanasi?
No. There's no need—I'm not asking those same questions anymore. And I don't have the time—I have a fucking five-year-old.
http://www.esquire.com/entertainment/tv/news/a46993/walton-goggins-vice-principals-danny-mcbride/
Walton Goggins on Tarantino, Marilyn Manson and 'Sons of Anarchy'
'Hateful Eight' star on what the Western says about today's racial strife, and how playing 'SOA' trans character changed him
Walton Goggins stars as Chris Mannix in Quentin Tarantino's 'The Hateful Eight' Andrew Cooper/SMPSP/The Weinstein Company
David Fear
January 21, 2016
Well, hello there baby, you look so beautiful," Walton Goggins purrs, leaning forward and suddenly going into full-on loverman mode. "Look at you, all done up in that white dress and those white shoes. This is a proper get-up, my dear. You look hot!" The 44-year-old actor is sitting in a downtown Manhattan restaurant, his face hovering inches away from a plate of Burrata; he was sold on the appetizer after being told it's "like Mozzarella's sexier cousin," so he's now whispering sweet nothings at the cheese with an intensity and seductiveness that's almost frightening. You're afraid that he may actually start making out with the quivering dairy product any second now. Then he scoops up a big chunk with his fork, pops it into his mouth, and says, with a familiar Walton-esque whoop: "God-DAMN, this is good!"
Why Westerns Are Tragically More Relevant Than Ever
'The Hateful Eight' and 'The Revenant' may be set in the past — but they're stories about today
For a long time, the Alabama-born, Georgia-raised Goggins was one of those where-have-I-seen-him-before character actors who showed up, stole scenes and, whether he was playing soldiers, gunslingers or detectives, left a spiky-haired impression. Six seasons as Boyd Crowder, the top-buttoned hillbilly criminal on the popular FX series Justified, upped his small-screen profile substantially — and now a key role in Quentin Tarantino's 70mm Western The Hateful Eight is doing the same for his big-screen bond fides. In an ensemble cast that includes Kurt Russell, Samuel L. Jackson and Bruce Dern, Goggins stands out as a former Confederate soldier and (possible) new sheriff in town who gets caught up in the film's haberdashery-bound whodunnit. Next to Jennifer Jason Leigh's bruised belle of the ball, he's a strong contender for the movie's MVP and, without saying too much, a major factor in the film's notion that racial strife is part of this country's past and its present.
"We're gonna do what Quentin does on all his sets," Goggins says, before slapping his cellphone down in the center of the table. "You turn these things in at Checkpoint Charlie, and all distractions get left at the door. We're going to have a conversation, you and me." And in between philosophical musings and some steamy Googins-on-fancy-cheese action, he told us all about Tarantino's working methods, why his trans character on Sons of Anarchy is a personal favorite, how he ended up on that Marilyn Manson track and why having a Southern accent shouldn't automatically mean playing a redneck.
Do you remember the first time you met Quentin?
I remember, though I don't think he does ... this was long before he cast me in Django Unchained (2012). I had just done this movie The Apostle with Robert Duvall, and he invited me to this tango party at his house in Venice, California. Bobby is an incredible tango dancer; I, however, am not. So I'm just sitting by the snack table, watching all these people killing it on the dance floor, and in walks Quentin Tarantino. This was right before Jackie Brown had come out, and I was a huge fan, but these are the types of encounters I tend to run away from. But there's eight people in a room, there's one snack table, what can you do? You sit there with a cracker in your hand, watch Robert Duvall do the tango and pray you don't say something fucking stupid!
And then he just walks up, casually says hello and strikes up a conversation. We had a lovely talk for a half hour, and I thought, "I didn't embarrass myself!" Later, when I got invited to go do Django with him, I spent the whole night before just riddled with doubts about whether I could keep up. I don't want to be the guy that drops the ball on a Tarantino film. And as soon as I got there, it just all went away. It was just like the party thing. His love and respect for actors is huge. And he is no bullshit. That man is precise. But he creates the conditions where you find yourself doing your best work. Better than your best.
when he told New York magazine that "literally watching him for six years do faux-Quentin dialogue let me know that he's got the right kind of tongue?"
No, because it's the truth! [Laughs] I think he meant it as a compliment. You have to remember, Elmore Leonard didn't write the Justified scripts; he just wrote the short story that the series is based on. So that meant our fearless leader Graham Yost and the writing staff had the impossible task of trying to replicate Leonard's writing on a daily basis. And damned if they didn't do it really well, and I think he recognized that — the task of trying to nail that voice. Which is similar to his.
I remember calling him when we shooting the filming the first episode of Season Five and telling him, "Every shot is pretty much in your vein. There are scenes between my character and Wynn Duffy (played by Jere Burns) that sound like John Travolta and Samuel L. Jackson just shooting the shit!" [Laughs] I'm not saying we were at that level, but that's what we were going for. And he respected it.
Just how hard was the shoot?
What was hard was the relentless fucking cold. Watch those early scenes — you'll notice I didn't have a jacket. I'm the guy with the blanket on. Kurt Russell had a fucking grizzly on his back, and I'm wearing a Hermès fucking scarf! I remember our costume designer, Courtney Hoffman, had found this incredible, warm jacket for my character [Chris Mannix] and Quentin said, "OK, take that jacket off." So I take it off and I was wearing another one underneath, and he said, "Take that one off too." So I got rid of that, and he said, How do you feel? Well, I feel pretty fucking cold, actually. "Good," he says, "that's right where I want you."
Topics: Kurt Sutter Justified Quentin Tarantino Sons of Anarchy
'Hateful Eight' star on what the Western says about today's racial strife, and how playing 'SOA' trans character changed him
Walton Goggins stars as Chris Mannix in Quentin Tarantino's 'The Hateful Eight' Andrew Cooper/SMPSP/The Weinstein Company
David Fear
January 21, 2016
Well, hello there baby, you look so beautiful," Walton Goggins purrs, leaning forward and suddenly going into full-on loverman mode. "Look at you, all done up in that white dress and those white shoes. This is a proper get-up, my dear. You look hot!" The 44-year-old actor is sitting in a downtown Manhattan restaurant, his face hovering inches away from a plate of Burrata; he was sold on the appetizer after being told it's "like Mozzarella's sexier cousin," so he's now whispering sweet nothings at the cheese with an intensity and seductiveness that's almost frightening. You're afraid that he may actually start making out with the quivering dairy product any second now. Then he scoops up a big chunk with his fork, pops it into his mouth, and says, with a familiar Walton-esque whoop: "God-DAMN, this is good!"
Why Westerns Are Tragically More Relevant Than Ever
'The Hateful Eight' and 'The Revenant' may be set in the past — but they're stories about today
For a long time, the Alabama-born, Georgia-raised Goggins was one of those where-have-I-seen-him-before character actors who showed up, stole scenes and, whether he was playing soldiers, gunslingers or detectives, left a spiky-haired impression. Six seasons as Boyd Crowder, the top-buttoned hillbilly criminal on the popular FX series Justified, upped his small-screen profile substantially — and now a key role in Quentin Tarantino's 70mm Western The Hateful Eight is doing the same for his big-screen bond fides. In an ensemble cast that includes Kurt Russell, Samuel L. Jackson and Bruce Dern, Goggins stands out as a former Confederate soldier and (possible) new sheriff in town who gets caught up in the film's haberdashery-bound whodunnit. Next to Jennifer Jason Leigh's bruised belle of the ball, he's a strong contender for the movie's MVP and, without saying too much, a major factor in the film's notion that racial strife is part of this country's past and its present.
"We're gonna do what Quentin does on all his sets," Goggins says, before slapping his cellphone down in the center of the table. "You turn these things in at Checkpoint Charlie, and all distractions get left at the door. We're going to have a conversation, you and me." And in between philosophical musings and some steamy Googins-on-fancy-cheese action, he told us all about Tarantino's working methods, why his trans character on Sons of Anarchy is a personal favorite, how he ended up on that Marilyn Manson track and why having a Southern accent shouldn't automatically mean playing a redneck.
Do you remember the first time you met Quentin?
I remember, though I don't think he does ... this was long before he cast me in Django Unchained (2012). I had just done this movie The Apostle with Robert Duvall, and he invited me to this tango party at his house in Venice, California. Bobby is an incredible tango dancer; I, however, am not. So I'm just sitting by the snack table, watching all these people killing it on the dance floor, and in walks Quentin Tarantino. This was right before Jackie Brown had come out, and I was a huge fan, but these are the types of encounters I tend to run away from. But there's eight people in a room, there's one snack table, what can you do? You sit there with a cracker in your hand, watch Robert Duvall do the tango and pray you don't say something fucking stupid!
And then he just walks up, casually says hello and strikes up a conversation. We had a lovely talk for a half hour, and I thought, "I didn't embarrass myself!" Later, when I got invited to go do Django with him, I spent the whole night before just riddled with doubts about whether I could keep up. I don't want to be the guy that drops the ball on a Tarantino film. And as soon as I got there, it just all went away. It was just like the party thing. His love and respect for actors is huge. And he is no bullshit. That man is precise. But he creates the conditions where you find yourself doing your best work. Better than your best.
when he told New York magazine that "literally watching him for six years do faux-Quentin dialogue let me know that he's got the right kind of tongue?"
No, because it's the truth! [Laughs] I think he meant it as a compliment. You have to remember, Elmore Leonard didn't write the Justified scripts; he just wrote the short story that the series is based on. So that meant our fearless leader Graham Yost and the writing staff had the impossible task of trying to replicate Leonard's writing on a daily basis. And damned if they didn't do it really well, and I think he recognized that — the task of trying to nail that voice. Which is similar to his.
I remember calling him when we shooting the filming the first episode of Season Five and telling him, "Every shot is pretty much in your vein. There are scenes between my character and Wynn Duffy (played by Jere Burns) that sound like John Travolta and Samuel L. Jackson just shooting the shit!" [Laughs] I'm not saying we were at that level, but that's what we were going for. And he respected it.
Just how hard was the shoot?
What was hard was the relentless fucking cold. Watch those early scenes — you'll notice I didn't have a jacket. I'm the guy with the blanket on. Kurt Russell had a fucking grizzly on his back, and I'm wearing a Hermès fucking scarf! I remember our costume designer, Courtney Hoffman, had found this incredible, warm jacket for my character [Chris Mannix] and Quentin said, "OK, take that jacket off." So I take it off and I was wearing another one underneath, and he said, "Take that one off too." So I got rid of that, and he said, How do you feel? Well, I feel pretty fucking cold, actually. "Good," he says, "that's right where I want you."
Topics: Kurt Sutter Justified Quentin Tarantino Sons of Anarchy
Walton Goggins on the Series Finale of Justified and the Fate of Boyd Crowder
Eric Dodds
Apr 14, 2015
TELEVISIONGame of Thrones' Yara Greyjoy Reveals Her Big Kiss Was Totally Improvised
Walton Goggins: You know, it was much harder than I anticipated. I've been through this once with The Shield and I knew relatively what I was in store for, and then the day came, the last week came, and I was actually going back and forth between "The Hateful Eight," and the movie, and the show. And I thought, "Well, I'm going to be fine," and then the moment came—the realization came that morning, on my last morning—that this was it. It was the last time I'm going to be buttoning my shirt all the way to the top and speaking the way the Boyd Crowder speaks.
Needless to say, we saved the last scene that Raylan and Boyd have together—that Tim [Olyphant] and I had together for the last day—and I just almost couldn't get through it.
It was very, very difficult and we tried to stay in this very Zen place, and when it was over, I just broke down. And there happened to be a 100 people from both networks—Sony and FX—and a lot of good people who worked very, very hard behind the monitor, on hand to watch this scene happen, and there wasn't a dry eye in the place. It was a real cathartic experience I think for everyone. But it was sad, and then thankfully, right after that, they did them out of order. I got to do Boyd Crowder on a high note, which was him and the prison sanctuary.
I got to go out on Boyd Crowder and preach it. I think literally the last words I said as Boyd Crowder were, "I got the wind in my face!" [Laughs]
ADVERTISING
Very fitting.
Yeah, so it was. As it turned out, it was a great high to end on and then it was—you know... But I'm doing better today and getting some proper perspective on the experience and I suppose it's kind of a delayed grieving process because I'm working on something else right now, and it'll catch up with me sometime later on this summer.
At this point, every fan of the show is more or less aware that Boyd was initially supposed to die in that very first episode. But instead he made it all the way to the very last scene of the final episode and didn't die at all. Was that something that you had hoped for, or had you thought at all about that, as you were going through the process of the final season?
You know I have had my designs on the ending that I wanted for Boyd, for a number of years. And I pitched it to Graham [Yost] for the end of Season 3. I saw it and it was this beautiful trajectory, and I thought it was a fitting way to end this journey that I had hoped to continue on. And it ended with a bullet for Boyd. I think in some ways it would have been easier for me, as an actor, to let him go knowing that he was dead and gone, and I wouldn't have to think about what he's doing every day.
But circumstances dictated the ending that we have, and at the beginning of the season, Graham set me down with the other producers on the show, and we talked about it and we said, "Well, you know, what if nobody dies? It would be very, very painful for people to see Boyd actually die." I agreed with that and I think that Graham made the right decision, although he put Boyd through hell over the last five episodes, and Boyd crossed lines that were so far outside of his own moral compass that it was very difficult.
The penultimate episode when they asked me to kill Shea Whigham's character, a working class hero—I had a real hard time with it, because that is who Boyd represents, that's who he speaks up for when he speaks publicly and that man's issues are the issues that he fights for. I can't just arbitrarily commit that act, because that's a psychopath, and Boyd Crowder is not a psychopath. He's an outlaw, he's a villain. I get that. But he also has a moral code, and the people that he's killed in this show up until this point—aside from the pilot [episode]—were people that were trying to kill him.
And in the outlaw world, you're given permission to do that. So they agreed, and we wrote that stuff for Boyd to say, and I really believe that that's what he believed at that time. He's so angry and bitter and hurt that it allowed for us to reach his absolute bottom, and it didn't even happen with that. It really happened with what Ava says to him when he asks the only question that he wants to know the answer to before he died, which is, "Why?" And she says, "I just did what I thought that you would do." There is no greater recipe for sobriety than the only person you trust and love in the world telling you that.
And there was such a start contrast between that final scene between Boyd and Raylan in the Bennett barn and how angry Boyd was, and then the scene in the prison four where the Boyd who obviously has a lot of affection for Raylan comes through.
Yeah, and you know he's always loved Raylan. He loves him. Deeply. Sometimes I think more than probably Raylan loves him, or Raylan would ever admit.
Right.
Boyd's the dude who wears his emotions on his sleeve for the most part. He's a buttoned-down guy but he will tell you how he feels and where you stand: "If you cross me I'm going to kill you." That's it. But if you are an intellectual equal and we have dug coal together and we've had all these life experiences—then there's a real affection there. There's a levity, a lightness to Boyd that I did not anticipate when we sat down to do that last day in the chapel and then our last scene together. I realized that morning when I was getting my stuff on and I was walking in to rehearse, that it is through incarceration, through being at the whims of another person's schedule and another person dictating the rhythms of Boyd's day that he had probably more freedom than he's had in a very long time. I would imagine he slept for the first two years and then finally kind of came out of this dark, morose hole and only to really be able to look at what he did, and to atone for it.
Even with the revelation of Ava's death—at least to him— and the sadness that came from that news, he didn't want Raylan to leave, and when he asks, "You have to go?" we know Boyd didn't want him to go. And Raylan gives Boyd the only things things that he ever really wanted from Raylan, which is that an acknowledgment that Boyd loved Ava and that our friendship wasn't just adversarial, but that it was rooted in the life experiences that we had growing up, all going back to working in the mines. Then Raylan says, "Because we dug coal together." That is a metaphor for the life that they had led.
I always really enjoyed the end of Season 1, which had a similar tone.
Me too!
RELATED
TELEVISIONThe Bachelorette Recap: Rachel Heads to the Fantasy Suites After the Men Meet Her Family
There's that scene where Raylan has every reason in the world to stop Boyd or to shoot him or prevent him from driving away. But I thought it was really gratifying to see it come full circle and end on a scene like that after so many seasons of the two of them ending a year on different sides of the spectrum.
Yeah, it was a very, very small needle to thread, and I was so grateful that Graham decided to keep Boyd alive to have that scene. I think I can speak for Tim and fans of the show when I say this that the scenes between these two men, between Raylan Givens and Boyd Crowder and the actors playing them mind you, were so rich and they were so nuanced and they were so many things over these years that to have it end with a six-page conversation, maybe it was always supposed to be that.
Obviously you spent a lot of your time over the course of the last six seasons with the two of them, Tim and Joelle [Carter]. Is there anyone you didn't have a chance to work with as much as you might have liked?
Jeremy [Davies], you know, Dickie Bennett? He's such a wonderful actor. Neil McDonough, who played Quarles. That was so, so much fun. I enjoyed obviously Mags Bennett (Margo Martindale) so much. I enjoyed Sam [Ellliott] from the season. But the one actor that I wish to God I had had more scenes with, and I'm damn happy with the one scene that we did have together is Garret Dillahunt. I have been a fan of Garrett's for such a long time. I think he's just one of the best in my generation and I wish that there was reason to have had more of an exchange with him because he just brings it, and so that's one big one.
Is it sad for you that you won't have a chance to play Boyd again? Where does he rank for you amongst the characters that you've played over the course of your career?
I am sad, yeah. I think that's an appropriate word. Sad. I don't have any regrets. There's nothing that I would have done differently. I feel like I did it on my terms and he's someone that I'm very, very close to and I'm very proud of. But I felt like it was time to go, that we had left no stone unturned in his evolution as a fictional character from the imagination of Elmore Leonard.
So while I'm sad, I am simultaneously relieved because it was a lot of weight to carry around for the last three years. You know that's the thing about television in the 21st century, man, this era of TV. If you are one of the lucky few who get an opportunity to tell a 78 or 84 or 96-hour movie, after Season 3, it's all going to be difficult from there. That's just how it happens. Insert drama here. There's still fun and games to be had, but if you're telling a drama for today's audience, you can bet some shit's going to hit the fan. Those are long days, and I enjoy them immensely, but it's time to lay them down. I'm still going to button shirt up to the top from time to time, and I'm still going to slip in his accent whenever I want to piss my wife off or drive her crazy. But yeah, I'm coming to terms with this being over.
And so I guess this means that we're not going to get the spinoff that I'm sure I'm not the only one hoping for, where Boyd breaks out and finally gets to open that Dairy Queen that he's been talking about?
Well, never say never. [Laughs] I mean it is Elmore Leonard after all, and his characters live on. So you know, I don't know. That's in the hands of the people that make that decision. But it'd be hard to say no sometime in the future. Just not tomorrow.
On a slightly more small-scale note, I feel compelled to ask whether you're a bourbon fan in real life and whether you've ever actually ordered Boyd's usual [four fingers of Elmer T. Lee], which I think would be pretty much an entire glass.
Yeah, absolutely. That's when he's feeling particularly frisky. I actually have a few bottles at the house, but I won't drink it with everybody. I like whiskey, I like scotch, I like bourbon—and I've got more than a few bottles at the house. But I'll only drink Elmer T, I'll only pull that out with someone very, very special because it's not top-top shelf but it's my top-top shelf.
It's good stuff.
So, uh, so yeah. I have done that both outside of and inside my house. [Laughs]
You're working on The Hateful Eight right now. Is your character like anything you've played before? It seems like given his title he might be on the other side of the law a bit.
Well it's hard to say in a Quentin Tarantino movie on which side of the law you're on, you know? Everything is up for grabs. It's anyone's guess, really. And what's been so nice about this opportunity other than the obvious and getting to work with QT again and all of these unbelievable actors—these f—ing icons—is that it's in the same vein [as Justified].
Elmore was a hero of Quentin's, and Quentin may be the only other person on the planet that can write in a similar tone when he wants to. Quentin is the master of a scene, and Elmore was the master of a scene, and so I'm just giddy every single day I go to work.
And then from this I'll go do this [HBO] comedy series, called Vice Principalswith Danny McBride and Jody Hill and David Gordon Green, and I'm just beside myself with anticipation about this experience because I think they're just some of the smartest and best guys working in comedy today. And I'm just happy to throw my hat in their ring and to be invited on their boat.
So here we go man! It's as politically incorrect as they come, and it's f—ing good!
Between Tarantino and then McBride and Jody Hill on the other end of the spectrum, it definitely seems like everything is going really well at the moment.
A day at a time, my man! A day at a time.
http://time.com/3820097/walton-gogg...le-of-justified-and-the-fate-of-boyd-crowder/
Eric Dodds
Apr 14, 2015
TELEVISIONGame of Thrones' Yara Greyjoy Reveals Her Big Kiss Was Totally Improvised
Walton Goggins: You know, it was much harder than I anticipated. I've been through this once with The Shield and I knew relatively what I was in store for, and then the day came, the last week came, and I was actually going back and forth between "The Hateful Eight," and the movie, and the show. And I thought, "Well, I'm going to be fine," and then the moment came—the realization came that morning, on my last morning—that this was it. It was the last time I'm going to be buttoning my shirt all the way to the top and speaking the way the Boyd Crowder speaks.
Needless to say, we saved the last scene that Raylan and Boyd have together—that Tim [Olyphant] and I had together for the last day—and I just almost couldn't get through it.
It was very, very difficult and we tried to stay in this very Zen place, and when it was over, I just broke down. And there happened to be a 100 people from both networks—Sony and FX—and a lot of good people who worked very, very hard behind the monitor, on hand to watch this scene happen, and there wasn't a dry eye in the place. It was a real cathartic experience I think for everyone. But it was sad, and then thankfully, right after that, they did them out of order. I got to do Boyd Crowder on a high note, which was him and the prison sanctuary.
I got to go out on Boyd Crowder and preach it. I think literally the last words I said as Boyd Crowder were, "I got the wind in my face!" [Laughs]
ADVERTISING
Very fitting.
Yeah, so it was. As it turned out, it was a great high to end on and then it was—you know... But I'm doing better today and getting some proper perspective on the experience and I suppose it's kind of a delayed grieving process because I'm working on something else right now, and it'll catch up with me sometime later on this summer.
At this point, every fan of the show is more or less aware that Boyd was initially supposed to die in that very first episode. But instead he made it all the way to the very last scene of the final episode and didn't die at all. Was that something that you had hoped for, or had you thought at all about that, as you were going through the process of the final season?
You know I have had my designs on the ending that I wanted for Boyd, for a number of years. And I pitched it to Graham [Yost] for the end of Season 3. I saw it and it was this beautiful trajectory, and I thought it was a fitting way to end this journey that I had hoped to continue on. And it ended with a bullet for Boyd. I think in some ways it would have been easier for me, as an actor, to let him go knowing that he was dead and gone, and I wouldn't have to think about what he's doing every day.
But circumstances dictated the ending that we have, and at the beginning of the season, Graham set me down with the other producers on the show, and we talked about it and we said, "Well, you know, what if nobody dies? It would be very, very painful for people to see Boyd actually die." I agreed with that and I think that Graham made the right decision, although he put Boyd through hell over the last five episodes, and Boyd crossed lines that were so far outside of his own moral compass that it was very difficult.
The penultimate episode when they asked me to kill Shea Whigham's character, a working class hero—I had a real hard time with it, because that is who Boyd represents, that's who he speaks up for when he speaks publicly and that man's issues are the issues that he fights for. I can't just arbitrarily commit that act, because that's a psychopath, and Boyd Crowder is not a psychopath. He's an outlaw, he's a villain. I get that. But he also has a moral code, and the people that he's killed in this show up until this point—aside from the pilot [episode]—were people that were trying to kill him.
And in the outlaw world, you're given permission to do that. So they agreed, and we wrote that stuff for Boyd to say, and I really believe that that's what he believed at that time. He's so angry and bitter and hurt that it allowed for us to reach his absolute bottom, and it didn't even happen with that. It really happened with what Ava says to him when he asks the only question that he wants to know the answer to before he died, which is, "Why?" And she says, "I just did what I thought that you would do." There is no greater recipe for sobriety than the only person you trust and love in the world telling you that.
And there was such a start contrast between that final scene between Boyd and Raylan in the Bennett barn and how angry Boyd was, and then the scene in the prison four where the Boyd who obviously has a lot of affection for Raylan comes through.
Yeah, and you know he's always loved Raylan. He loves him. Deeply. Sometimes I think more than probably Raylan loves him, or Raylan would ever admit.
Right.
Boyd's the dude who wears his emotions on his sleeve for the most part. He's a buttoned-down guy but he will tell you how he feels and where you stand: "If you cross me I'm going to kill you." That's it. But if you are an intellectual equal and we have dug coal together and we've had all these life experiences—then there's a real affection there. There's a levity, a lightness to Boyd that I did not anticipate when we sat down to do that last day in the chapel and then our last scene together. I realized that morning when I was getting my stuff on and I was walking in to rehearse, that it is through incarceration, through being at the whims of another person's schedule and another person dictating the rhythms of Boyd's day that he had probably more freedom than he's had in a very long time. I would imagine he slept for the first two years and then finally kind of came out of this dark, morose hole and only to really be able to look at what he did, and to atone for it.
Even with the revelation of Ava's death—at least to him— and the sadness that came from that news, he didn't want Raylan to leave, and when he asks, "You have to go?" we know Boyd didn't want him to go. And Raylan gives Boyd the only things things that he ever really wanted from Raylan, which is that an acknowledgment that Boyd loved Ava and that our friendship wasn't just adversarial, but that it was rooted in the life experiences that we had growing up, all going back to working in the mines. Then Raylan says, "Because we dug coal together." That is a metaphor for the life that they had led.
I always really enjoyed the end of Season 1, which had a similar tone.
Me too!
RELATED
TELEVISIONThe Bachelorette Recap: Rachel Heads to the Fantasy Suites After the Men Meet Her Family
There's that scene where Raylan has every reason in the world to stop Boyd or to shoot him or prevent him from driving away. But I thought it was really gratifying to see it come full circle and end on a scene like that after so many seasons of the two of them ending a year on different sides of the spectrum.
Yeah, it was a very, very small needle to thread, and I was so grateful that Graham decided to keep Boyd alive to have that scene. I think I can speak for Tim and fans of the show when I say this that the scenes between these two men, between Raylan Givens and Boyd Crowder and the actors playing them mind you, were so rich and they were so nuanced and they were so many things over these years that to have it end with a six-page conversation, maybe it was always supposed to be that.
Obviously you spent a lot of your time over the course of the last six seasons with the two of them, Tim and Joelle [Carter]. Is there anyone you didn't have a chance to work with as much as you might have liked?
Jeremy [Davies], you know, Dickie Bennett? He's such a wonderful actor. Neil McDonough, who played Quarles. That was so, so much fun. I enjoyed obviously Mags Bennett (Margo Martindale) so much. I enjoyed Sam [Ellliott] from the season. But the one actor that I wish to God I had had more scenes with, and I'm damn happy with the one scene that we did have together is Garret Dillahunt. I have been a fan of Garrett's for such a long time. I think he's just one of the best in my generation and I wish that there was reason to have had more of an exchange with him because he just brings it, and so that's one big one.
Is it sad for you that you won't have a chance to play Boyd again? Where does he rank for you amongst the characters that you've played over the course of your career?
I am sad, yeah. I think that's an appropriate word. Sad. I don't have any regrets. There's nothing that I would have done differently. I feel like I did it on my terms and he's someone that I'm very, very close to and I'm very proud of. But I felt like it was time to go, that we had left no stone unturned in his evolution as a fictional character from the imagination of Elmore Leonard.
So while I'm sad, I am simultaneously relieved because it was a lot of weight to carry around for the last three years. You know that's the thing about television in the 21st century, man, this era of TV. If you are one of the lucky few who get an opportunity to tell a 78 or 84 or 96-hour movie, after Season 3, it's all going to be difficult from there. That's just how it happens. Insert drama here. There's still fun and games to be had, but if you're telling a drama for today's audience, you can bet some shit's going to hit the fan. Those are long days, and I enjoy them immensely, but it's time to lay them down. I'm still going to button shirt up to the top from time to time, and I'm still going to slip in his accent whenever I want to piss my wife off or drive her crazy. But yeah, I'm coming to terms with this being over.
And so I guess this means that we're not going to get the spinoff that I'm sure I'm not the only one hoping for, where Boyd breaks out and finally gets to open that Dairy Queen that he's been talking about?
Well, never say never. [Laughs] I mean it is Elmore Leonard after all, and his characters live on. So you know, I don't know. That's in the hands of the people that make that decision. But it'd be hard to say no sometime in the future. Just not tomorrow.
On a slightly more small-scale note, I feel compelled to ask whether you're a bourbon fan in real life and whether you've ever actually ordered Boyd's usual [four fingers of Elmer T. Lee], which I think would be pretty much an entire glass.
Yeah, absolutely. That's when he's feeling particularly frisky. I actually have a few bottles at the house, but I won't drink it with everybody. I like whiskey, I like scotch, I like bourbon—and I've got more than a few bottles at the house. But I'll only drink Elmer T, I'll only pull that out with someone very, very special because it's not top-top shelf but it's my top-top shelf.
It's good stuff.
So, uh, so yeah. I have done that both outside of and inside my house. [Laughs]
You're working on The Hateful Eight right now. Is your character like anything you've played before? It seems like given his title he might be on the other side of the law a bit.
Well it's hard to say in a Quentin Tarantino movie on which side of the law you're on, you know? Everything is up for grabs. It's anyone's guess, really. And what's been so nice about this opportunity other than the obvious and getting to work with QT again and all of these unbelievable actors—these f—ing icons—is that it's in the same vein [as Justified].
Elmore was a hero of Quentin's, and Quentin may be the only other person on the planet that can write in a similar tone when he wants to. Quentin is the master of a scene, and Elmore was the master of a scene, and so I'm just giddy every single day I go to work.
And then from this I'll go do this [HBO] comedy series, called Vice Principalswith Danny McBride and Jody Hill and David Gordon Green, and I'm just beside myself with anticipation about this experience because I think they're just some of the smartest and best guys working in comedy today. And I'm just happy to throw my hat in their ring and to be invited on their boat.
So here we go man! It's as politically incorrect as they come, and it's f—ing good!
Between Tarantino and then McBride and Jody Hill on the other end of the spectrum, it definitely seems like everything is going really well at the moment.
A day at a time, my man! A day at a time.
http://time.com/3820097/walton-gogg...le-of-justified-and-the-fate-of-boyd-crowder/
I'm watching this show again for the third time and it's still fucking fantastic. Justified is one of the best shows and TV history, and if you haven't seen it, check it out. It's fucking worth it. The dialogue, the humor, The Supporting Cast. There isn't anything about this show not to like
bu
…...had me thinking there was something new about Justified...…
.
you and your old ass thread bumping...…
…...had me thinking there was something new about Justified...….
Take me through the creation of the Limehouse character.
I felt after the first two seasons that the only African-Americans we’d had on the show were either Rachel or more urban stories, like Rachel’s brother-in-law in the second season, or there was Curtis Mims, a hitman type bad guy in the first season, and there didn’t seem to be anything particularly Kentucky about it.
So we started looking into the black communities in Harlan, much to many’s surprise that there are any. But there are, so what was the history of them? A lot of them formed in the ’30s and ’40s, sharecroppers who were brought up from the deep, deep South to come work in the mines, and they just collected into these little African-American hamlets.
But then [executive story producer/writer] Nichelle Tramble Spellman found this story of a community that was called Coe Ridge or Coe Holler. These were emancipated slaves who were basically deeded the land from their previous owners, and they survived back in the hill country in Harlan for almost another 100 years.
White landowners in the area tried to pry ’em out, but they couldn’t get them out. So that sounded cool. And then the next part of it that we thought was great is we found out that Coe Holler was used sometimes as a refuge, as a sanctuary by battered white women, because they knew that their husbands or boyfriends or whoever wouldn’t come in after them there.
So that seemed to be something that would fit with Raylan’s backstory and his mother having been beaten by his father, as well as Ava’s backstory of her life with Boyd’s brother Bowman.
The third thing that pointed us that way was that one of the models for Mags Bennett in the second season was a real-life criminal matriarch named Mags Bailey, and the story goes that she kept her money hidden under a black church, because she knew no white criminals would go after it.
So putting all that together, we decided what if our version of Coe Ridge or Coe Holler still existed, and the reason it existed is because of this family that had sort of served as the unofficial banking enterprise for white criminals, because they all knew no one would come and steal their money from a black community. That’s where it got started.
Then we came across this perhaps fictional character named Limehouse, who was supposedly an African-American man who was sent down into the deep South to recruit sharecroppers to work in the mines, and we just loved that name. As soon as we started to come close to this character, I thought of Mykelti Williamson [who Yost worked with on Boomtown].
I liked that Rachel’s first kill since her first kill didn’t traumatize her. A lot of shows would have had that happen to give her an arc, but Justified isn’t headed there.
No, it’s not. It doesn’t traumatize her because she was defending a mother and her children. That’s why the series is called Justified. That one, almost more than any other we’ve done, was justified.
Last question: Art says “Somebody needs to tell Denzel” the story of Bass Reeves (who was famous for the number of criminals he captured after being commissioned a U.S. Marshal in 1875, making him one of the first black federal lawmen west of the Mississippi). Was that you, screenwriter of Speed, pitching Denzel Washington?
No. Elmore Leonard has a new book out, called Raylan, which is three interconnected stories that he started working on after we started the series.
I think it’s in there that Raylan has a long conversation with another marshal, and the other marshal talks about Bass Reeves.
One of the things that you find in Elmore’s writing is he loves characters to talk about movies, because we all talk about movies. And they will even talk about, “You know, I’d like to be played by this guy,” or “Let’s get Denzel to do that.”
It’s either in there, or it was just something that Tim and the writer of the episode, Ben Cavell, came up with.
I felt after the first two seasons that the only African-Americans we’d had on the show were either Rachel or more urban stories, like Rachel’s brother-in-law in the second season, or there was Curtis Mims, a hitman type bad guy in the first season, and there didn’t seem to be anything particularly Kentucky about it.
So we started looking into the black communities in Harlan, much to many’s surprise that there are any. But there are, so what was the history of them? A lot of them formed in the ’30s and ’40s, sharecroppers who were brought up from the deep, deep South to come work in the mines, and they just collected into these little African-American hamlets.
But then [executive story producer/writer] Nichelle Tramble Spellman found this story of a community that was called Coe Ridge or Coe Holler. These were emancipated slaves who were basically deeded the land from their previous owners, and they survived back in the hill country in Harlan for almost another 100 years.
White landowners in the area tried to pry ’em out, but they couldn’t get them out. So that sounded cool. And then the next part of it that we thought was great is we found out that Coe Holler was used sometimes as a refuge, as a sanctuary by battered white women, because they knew that their husbands or boyfriends or whoever wouldn’t come in after them there.
So that seemed to be something that would fit with Raylan’s backstory and his mother having been beaten by his father, as well as Ava’s backstory of her life with Boyd’s brother Bowman.
The third thing that pointed us that way was that one of the models for Mags Bennett in the second season was a real-life criminal matriarch named Mags Bailey, and the story goes that she kept her money hidden under a black church, because she knew no white criminals would go after it.
So putting all that together, we decided what if our version of Coe Ridge or Coe Holler still existed, and the reason it existed is because of this family that had sort of served as the unofficial banking enterprise for white criminals, because they all knew no one would come and steal their money from a black community. That’s where it got started.
Then we came across this perhaps fictional character named Limehouse, who was supposedly an African-American man who was sent down into the deep South to recruit sharecroppers to work in the mines, and we just loved that name. As soon as we started to come close to this character, I thought of Mykelti Williamson [who Yost worked with on Boomtown].
I liked that Rachel’s first kill since her first kill didn’t traumatize her. A lot of shows would have had that happen to give her an arc, but Justified isn’t headed there.
No, it’s not. It doesn’t traumatize her because she was defending a mother and her children. That’s why the series is called Justified. That one, almost more than any other we’ve done, was justified.
Last question: Art says “Somebody needs to tell Denzel” the story of Bass Reeves (who was famous for the number of criminals he captured after being commissioned a U.S. Marshal in 1875, making him one of the first black federal lawmen west of the Mississippi). Was that you, screenwriter of Speed, pitching Denzel Washington?
No. Elmore Leonard has a new book out, called Raylan, which is three interconnected stories that he started working on after we started the series.
I think it’s in there that Raylan has a long conversation with another marshal, and the other marshal talks about Bass Reeves.
One of the things that you find in Elmore’s writing is he loves characters to talk about movies, because we all talk about movies. And they will even talk about, “You know, I’d like to be played by this guy,” or “Let’s get Denzel to do that.”
It’s either in there, or it was just something that Tim and the writer of the episode, Ben Cavell, came up with.
One of the best shows in the history of television. I re-watching the show right now with my little brother. The writing on this show, the dialogue is phenomenal. And season 2, which I'm watching now...Mags Bennett and her clan? And if Boyd Crowder ain't one of the best characters on TV?
‘Fargo’: Timothy Olyphant Joins Season 4 Of FX Anthology Series
Timothy Olyphant is set for a key recurring role in the upcoming fourth installment of its anthology series Fargo, headlined by Chris Rock.
deadline.com
‘Fargo’: Timothy Olyphant Joins Season 4 Of FX Anthology Series
By Nellie Andreeva
Nellie Andreeva
Co-Editor-in-Chief, TV
@DeadlineNellieMore Stories By Nellie
- Peter Farrelly Makes the Case For ‘Loudermilk’, Teases Season 3 & Beyond As 2 Former Audience Series Seek New Homes
- Adele To Host ‘Saturday Night Live’ Next Week With Musical Guest H.E.R.
- ‘Saturday Night Live’ Ratings Slip With Host Issa Rae, Remain Above 2019 Levels
September 17, 2019 9:12am
5COMMENTS
Photo by Rob Latour/Shutterstock
EXCLUSIVE: Justified star Timothy Olyphant is returning to FX with a key role in the upcoming fourth installment of the network’s anthology series Fargo, headlined by Chris Rock.
Created, written, directed and executive produced by Noah Hawley, who also serves as showrunner, Season 4 is set in 1950 in Kansas City, MO. The locale serves as the crossroads and collisions of two migrations — Southern Europeans from countries like Italy, and African Americans who left the south in great numbers to escape Jim Crow, both fighting for a piece of the American dream. In Kansas City, two criminal syndicates — one Italian, led by Donatello Fadda, one African American, led by Loy Cannon (Rock) — have struck an uneasy peace, which the heads of both families have cemented by trading their youngest sons.
RELATED STORY
'What We Do In The Shadows' EPs Tease New Creatures, Road Trips And Kermit The Frog For Season 3 - New York Comic Con
Olyphant plays a character named Dick “Deafy” Wickware in a major recurring role.
In addition to Rock, Olyphant joins previously cast Jack Huston, Jason Schwartzman, Ben Whishaw, Jessie Buckley, Salvatore Esposito, Andrew Bird, Jeremie Harris, Gaetano Bruno, Anji White, Francesco Acquaroli,, E’myri Crutchfield, Amber Midthunder and Uzo Aduba.
Additionally, James Vincent Meredith has joined the cast as a series regular, playing Opal Rackley, a crew member of the Cannon Crime Family.
Joel & Ethan Coen and Warren Littlefield serve as executive producers with Hawley. Fargo is produced by MGM Television and FX Productions. Production begins this fall in Chicago for premiere on FX in 2020.
Olyphant, Emmy-nominated for his starring role on FX’s drama series Justified, is coming off a three-season run in a co-starring role opposite Drew Barrymore on Netflix’s Santa Clarita Diet. He also recently starred and executive produced HBO’s Deadwood: The Movie. On the big screen, he can currently be seen in Quentin Tarantino’s Once Upon a Time in Hollywood and next will be appear in Ted Melfi-helmed The Starling alongside Kevin Kline and Melissa McCarthy.
Meredith is an ensemble member of Chicago’s Steppenwolf Theatre Company and has heavily recurred on Chicago Med, Boss, The Exorcist and Betrayal. He is repped by Stewart Talent Management.
Me too. My entire family was watching this masterpiece.
The writers on this show were the best in the business.
This show still doesn't get enough praise.
Definitely, a sleeper hit.
That Black chick in the show was fine af. She reminds me of a chick I use to fuck with.
The last couple of seasons were a little slow though.
I think those later slower seasons should have focused on the other Marshalls Tim and Rachel. The few episodes that they had always seemed like they had a lot more on the bone.
Tim Gutterson
Rachel Brooks
A lot of really good scenes with Rachel, but for obvious reasons NONE of them are online!
Raylan Givens: You ever consider I happen to be good at the job?
Rachel Brooks: And you being a tall, good-looking white man with a shitload of swagger, that has nothing to do with it? You get away with just about anything.
Raylan Givens: What do I get away with?
Rachel Brooks: Look in the mirror. How do you think it'd go over if I came into work one day wearing a cowboy hat? You think I'd get away with that?
Raylan Givens: Want to try it on?
BUMP .... We back bitches
FUCK YEAH!!!
FX Reviving ‘Justified’ Starring Timothy Olyphant for New Limited Series
Timothy Olyphant is returning as as U.S. Marshal Raylan Givens in a new Justified limited series.
Confirming last year’s reports of a possible revival, FX announced Friday a new show titled Justified: City Primeval.
The story is inspired by Elmore Leonard’s novel City Primeval: High Noon in Detroit.
Here’s the storyline: “Having left the hollers of Kentucky eight years ago, Raylan Givens now lives in Miami, a walking anachronism balancing his life as a U.S. Marshal and part-time father of a 14-year-old girl. His hair is grayer, his hat is dirtier, and the road in front of him is suddenly a lot shorter than the road behind. A chance encounter on a desolate Florida highway sends him to Detroit. There he crosses paths with Clement Mansell, aka The Oklahoma Wildman, a violent, sociopathic desperado who’s already slipped through the fingers of Detroit’s finest once and aims to do so again. Mansell’s lawyer, formidable Motor City native Carolyn Wilder, has every intention of representing her client, even as she finds herself caught in between cop and criminal, with her own game afoot as well. These three characters set out on a collision course in classic Elmore Leonard fashion, to see who makes it out of the City Primeval alive.”
“Justified was one of the most critically acclaimed shows of the past decade and an adaption of Elmore Leonard’s work that was so colorfully brought to life by Timothy Olyphant as Raylan Givens, Graham Yost and the entire team of producers, writers, directors and cast,” said Eric Schrier, president, FX Entertainment. “To have this group come together again with Tim as Raylan in a new and different Elmore Leonard story is thrilling.”
“When Justified concluded, the love and affection for this exceptional series only grew and left audiences craving more Raylan Givens,” added the president of Sony Pictures Television Studios, Jeff Frost and co-president, Jason Clodfelter. “The iconic Elmore Leonard was one of the premier authors of our time and no one has quite captured his tone and authenticity as well as this Justified team.”
Justified ran for six seasons on FX from 2010-2015 and was nominated for eight Emmy Awards, received two, and also won a Peabody Award. The series was based on Leonard’s novella, Fire in the Hole, with Leonard consulting with the producers until his death in 2013.
Dave Andron and Michael Dinner are showrunners and executive producers of the limited series, with Dinner directing. Olyphant is star and executive producer. Graham Yost, who was the show’s original showrunner, Sarah Timberman and Carl Beverly are executive producers, alongside Peter Leonard, Taylor Elmore and Chris Provenzano. The series will be produced by Sony Pictures Television and FX Productions.
www.hollywoodreporter.com
FUCK YEAH!!!
FX Reviving ‘Justified’ Starring Timothy Olyphant for New Limited Series
Timothy Olyphant is returning as as U.S. Marshal Raylan Givens in a new Justified limited series.
Confirming last year’s reports of a possible revival, FX announced Friday a new show titled Justified: City Primeval.
The story is inspired by Elmore Leonard’s novel City Primeval: High Noon in Detroit.
Here’s the storyline: “Having left the hollers of Kentucky eight years ago, Raylan Givens now lives in Miami, a walking anachronism balancing his life as a U.S. Marshal and part-time father of a 14-year-old girl. His hair is grayer, his hat is dirtier, and the road in front of him is suddenly a lot shorter than the road behind. A chance encounter on a desolate Florida highway sends him to Detroit. There he crosses paths with Clement Mansell, aka The Oklahoma Wildman, a violent, sociopathic desperado who’s already slipped through the fingers of Detroit’s finest once and aims to do so again. Mansell’s lawyer, formidable Motor City native Carolyn Wilder, has every intention of representing her client, even as she finds herself caught in between cop and criminal, with her own game afoot as well. These three characters set out on a collision course in classic Elmore Leonard fashion, to see who makes it out of the City Primeval alive.”
“Justified was one of the most critically acclaimed shows of the past decade and an adaption of Elmore Leonard’s work that was so colorfully brought to life by Timothy Olyphant as Raylan Givens, Graham Yost and the entire team of producers, writers, directors and cast,” said Eric Schrier, president, FX Entertainment. “To have this group come together again with Tim as Raylan in a new and different Elmore Leonard story is thrilling.”
“When Justified concluded, the love and affection for this exceptional series only grew and left audiences craving more Raylan Givens,” added the president of Sony Pictures Television Studios, Jeff Frost and co-president, Jason Clodfelter. “The iconic Elmore Leonard was one of the premier authors of our time and no one has quite captured his tone and authenticity as well as this Justified team.”
Justified ran for six seasons on FX from 2010-2015 and was nominated for eight Emmy Awards, received two, and also won a Peabody Award. The series was based on Leonard’s novella, Fire in the Hole, with Leonard consulting with the producers until his death in 2013.
Dave Andron and Michael Dinner are showrunners and executive producers of the limited series, with Dinner directing. Olyphant is star and executive producer. Graham Yost, who was the show’s original showrunner, Sarah Timberman and Carl Beverly are executive producers, alongside Peter Leonard, Taylor Elmore and Chris Provenzano. The series will be produced by Sony Pictures Television and FX Productions.
FX Reviving ‘Justified’ Starring Timothy Olyphant for New Limited Series
The actor is set to return as U.S. Marshal Raylan Givens in 'Justified: City Primeval' miniseries.
www.hollywoodreporter.com
I always felt the show took a slight hit when Elmore passed. Still a great show till the end.
BUMP .... We back bitches
FUCK YEAH!!!
FX Reviving ‘Justified’ Starring Timothy Olyphant for New Limited Series
Timothy Olyphant is returning as as U.S. Marshal Raylan Givens in a new Justified limited series.
Confirming last year’s reports of a possible revival, FX announced Friday a new show titled Justified: City Primeval.
The story is inspired by Elmore Leonard’s novel City Primeval: High Noon in Detroit.
Here’s the storyline: “Having left the hollers of Kentucky eight years ago, Raylan Givens now lives in Miami, a walking anachronism balancing his life as a U.S. Marshal and part-time father of a 14-year-old girl. His hair is grayer, his hat is dirtier, and the road in front of him is suddenly a lot shorter than the road behind. A chance encounter on a desolate Florida highway sends him to Detroit. There he crosses paths with Clement Mansell, aka The Oklahoma Wildman, a violent, sociopathic desperado who’s already slipped through the fingers of Detroit’s finest once and aims to do so again. Mansell’s lawyer, formidable Motor City native Carolyn Wilder, has every intention of representing her client, even as she finds herself caught in between cop and criminal, with her own game afoot as well. These three characters set out on a collision course in classic Elmore Leonard fashion, to see who makes it out of the City Primeval alive.”
“Justified was one of the most critically acclaimed shows of the past decade and an adaption of Elmore Leonard’s work that was so colorfully brought to life by Timothy Olyphant as Raylan Givens, Graham Yost and the entire team of producers, writers, directors and cast,” said Eric Schrier, president, FX Entertainment. “To have this group come together again with Tim as Raylan in a new and different Elmore Leonard story is thrilling.”
“When Justified concluded, the love and affection for this exceptional series only grew and left audiences craving more Raylan Givens,” added the president of Sony Pictures Television Studios, Jeff Frost and co-president, Jason Clodfelter. “The iconic Elmore Leonard was one of the premier authors of our time and no one has quite captured his tone and authenticity as well as this Justified team.”
Justified ran for six seasons on FX from 2010-2015 and was nominated for eight Emmy Awards, received two, and also won a Peabody Award. The series was based on Leonard’s novella, Fire in the Hole, with Leonard consulting with the producers until his death in 2013.
Dave Andron and Michael Dinner are showrunners and executive producers of the limited series, with Dinner directing. Olyphant is star and executive producer. Graham Yost, who was the show’s original showrunner, Sarah Timberman and Carl Beverly are executive producers, alongside Peter Leonard, Taylor Elmore and Chris Provenzano. The series will be produced by Sony Pictures Television and FX Productions.
FX Reviving ‘Justified’ Starring Timothy Olyphant for New Limited Series
The actor is set to return as U.S. Marshal Raylan Givens in 'Justified: City Primeval' miniseries.
Similar threads
