Taylor Sheridan’s Yellowstone prequel series 1923 has finally returned for its second season, and as the initial episodes reveal, things haven’t gotten any easier for the Dutton family. Not only do Jacob (Harrison Ford) and Cara (Helen Mirren) have to navigate the continuing dangers of winter on both their livestock and their livelihoods, but they also have another threat on their hands in the form of ruthless businessman Thomas Whitfield (Timothy Dalton), whom they owe a considerable debt to in the form of the Yellowstone Ranch’s back taxes. To top it all off, this week’s episode, “Journey the Rivers of Iron,” features a major (and dangerous) surgery for Yellowstone foreman Zane Davis (Brian Geraghty), who’s been dealing with a debilitating head injury ever since being beaten by police in the Season 1 finale during his arrest for miscegenation.
Ahead of the premiere of “Journey the Rivers of Iron,” Collider had the opportunity to speak with Geraghty about his character’s biggest moments in the episode. Over the course of the interview, which you can read below, Geraghty delves into why his character is the Rip Wheeler (Cole Hauser) of 1923, when he found out the truth about Zane’s secret family, what it was like filming the surgery scene over the course of two days, why his co-star Harrison Ford kissed him when it was over, and more.
I feel like I have to ask you how your head is doing after watching this week’s episode!
BRIAN GERAGHTY: Much better! Lots of medicine.
Before we jump into talking about that scene, one detail about your character that really stands out early in this season is how devoted he is to protecting his wife and kids, prioritizing them above his own safety. How do little details like that really help shape who this character is for the performance that you’re giving?
GERAGHTY: It’s a great question. That’s the job title of this character, and that was something that I knew early on, actually, talking to Taylor [Sheridan] a little bit about it. Obviously, he said, “You’re [in] the position of Rip from Yellowstone,” and we all know what Rip’s job is. He kind of runs the ranch, and he’s [Jacob] Dutton’s right-hand man, and that’s the same. Obviously, we’re different characters, and so Zane, to me, is a really earnest, trustworthy guy who will do anything for anybody—he’ll give the shirt off his back—and if that means him throwing himself into the fire for his wife and kids or the Duttons, that’s what he’ll do. The thing that comes to mind the most is “loyal to a fault.”
Brian Geraghty Found Out About Zane’s Secret Family While Shooting ‘1923’s First Season
One of the details that surprised viewers last season was the discovery that Zane had a family and that there was this added risk of his marriage not officially being recognized by every state — and, to a point, illegal. Was that something where, as you were speaking with Taylor about this character and who he was, he was providing those details ahead of time, or were you finding that out as you were getting scripts?
GERAGHTY: I was finding it out as I was getting scripts. This started as a one-season miniseries, like 1883. It’s 10 episodes and the prequel, and this was like the “midquel,” I guess. I had read a couple of scenes, and I actually auditioned for a different part, and then they sent me Zane. What happened was I read a couple of scenes, didn’t think anything of it, and then I got the part. Then, we were thrust into the cowboy camp, and we all know what that is—two weeks of really just riding horses and learning, shooting guns, and lassoing.
For us, it continued much longer. As I progressed into the season, I actually got a call from Taylor, and he was like, “I have this idea for this storyline I want to give you.” He’d been familiar with my work, and so he wanted to give me something to do, honestly. I’m so blessed to have that. It kind of parallels a bit in my own life. I’m married to a Hispanic woman, and so she helped me really understand what this would mean. So, for me, it was really meaningful, and it just worked out that that was kind of going on in my life. So, that’s how that went. He called me up, and then he pitched it to me, and we talked a little bit about it. The great thing about Taylor is he hires the actors that he wants. Sometimes, for the younger actors, he’ll put them through a rigorous test before they get the job, or it could maybe be people that have been around a while, he’s been watching them, and he’ll give you the part and trust you to do what you will with it. It was definitely a bonus.
In the wake of what happened with Zane being arrested and his family being detained, he’s been injured in the process. It’s had a debilitating effect on his head and his movement. How did you apply that to the physical aspects of your performance? Did you look into what that type of head injury would feel like?
GERAGHTY: Of course. That’s one of the things that is good about the internet, especially for actors. It’s very easy to go down rabbit holes. You try to pull pieces that will work. You try stuff on and go, “That doesn’t help me,” or, “Is this too much?” It’s a collaboration with the director. He’s like, “Can you give me a little more of this or a little less of that?” That’s how I did it. Also, the main thing that I focused on was, sure, the physical aspect, but also the emotional aspects of, like, you can’t do your job anymore. Your purpose in life is basically gone. How do you exist? That was the question that I asked. That’s where all the angst and fear comes in those scenes. It’s like, “It’s all over.” When people get like, “I can’t walk, what good am I?” That was the sentiment that we were going for.
Brian Geraghty’s “Intense” ‘1923’ Surgery Scene Took Two Days to Film
The surgery scene is about as tense as things can get in an episode of 1923. It’s also something that Dr. Miller has never performed before. Without the advantage of modern anesthesia, you’re trying to stay as still as you can on a table. I’m curious about the behind-the-scenes process and how that scene was staged. Was it your head, or a fake head?
GERAGHTY: Jason Hamer is an amazing special effects guy, and they orchestrated this incredible head. I mean, it was fantastic. In fact, there’s a picture floating around somewhere, I wish I had it, of Harrison [Ford] kissing it. So, they were able to perform that part of the surgery on that while I did some of the more practical stuff. It was a combination of the actual practical VFX, me being on the table, and then the actual brain matter of the surgery. So, those were the three components.
It was definitely, for me, a pretty intense day because I had a lot to do, and I had a lot that I wanted to go a specific way. I was okay with it going here or here, but I didn’t want it to go over here. I worked a lot on that scene and tried to really get to the understanding of the emotional relevance of not being able to walk or being able to walk and be cured. So, I had a lot going on that day. It was a two-day process to film the whole sequence, and it was amazing with Darren [Mann] and Harrison. We had a fun time, but once they start rolling the cameras, we all took it down and just tried to get through the scene.
One of the relationships in the show that really feels strong and rooted in mutual respect is between Zane and Jacob Dutton. Jacob is the one who really puts himself out there to get Zane and his family back to the ranch, and he’s also making sure that they can do the surgery at the house. It’s just really lovely to see that relationship between these two men. What was it like to work with Harrison for this scene, especially when Zane really needs that support because he’s in a physically and emotionally vulnerable position?
GERAGHTY: First of all, you always remember the fact that you’re working with Harrison Ford—there’s always that. But for me, I just was really lucky that Harrison is the kind of actor that’s there for you, that wants me to succeed. He wants this show to be the best it possibly can be. This is part of his storyline, and so he’s there to help me. He’s there off-camera all day. If we had a good take, we’ll high-five or hug. I remember after the scene, he came up and kissed me. He said, “Great work!” That’s very meaningful for someone like him to say that to somebody like me. We knew it was a big scene, and we wanted to get through it.
So, yeah, it was just a blessing to have somebody who cares so much and works so hard and is there for you because it’s not always like that. Some people are really out for themselves, but not him and Darren [Mann]. They all want me to succeed. We all have our moments on the show when it’s the other actors’ moments. It’s not out of selfishness or, “It’s my moment.” It’s, “I have to get this right for this show. I want to propel this storyline for this show so that we don’t have any moments that are weak.” That’s where, as an ensemble, we are all team players. I was blessed to have those two and Helen [Mirren] and Joy [Osmanski], and everyone — plus good old Doc!
Your character’s able to get back up on his feet afterward, mostly in one piece now, although he’s got that hole in his head. What can you tease in terms of what’s ahead for Zane, now that he’s made it out of the surgery?
GERAGHTY: It’s just getting back to the, “What do we have to do now?” But now, it’s a little bit more personal because we know where this is coming from. Now he wants to win times 100 now — not only for them, but for him and his family. He’s not a guy to take vengeance, but he’s a guy that wants justice, I’d say.