Warning: This article contains some discussions of sexual assault.
Thescreescore – The cinematic landscape shifted irrevocably for both its visionary creator, Taylor Sheridan, and a key collaborator, James Jordan, with the release of 2017’s Wind River. This taut crime thriller, penned and helmed by the architect of the Yellowstone universe, plunged audiences into the chilling investigation of a young woman’s murder on a remote Wyoming reservation. Jeremy Renner and Elizabeth Olsen led an ensemble that would become a familiar stable for Sheridan, including Gil Birmingham, Kelsey Asbille, and notably, James Jordan, whose journey with the filmmaker was just beginning.
Recently, during a conversation with Thescreescore.com’s Grant Hermanns about the Landman season two finale, Jordan reflected on his profound experience with Wind River. The acclaimed actor, a veteran of seven Sheridan productions, characterized the neo-Western as "the hardest job I’ve ever done" and unequivocally, "the one that changed my life." He elaborated on the dual nature of this arduous undertaking: the emotional toll of embodying a "despicable, horrible human being," necessitating a delve into his own "dark parts emotionally," and the sheer physical brutality of the shoot. Jordan vividly recounted filming the film’s climactic, harrowing sequence "on top of Utah," near Gannett Peak, where he was "at 11,500 feet and barefoot," forced to "run in knee-high snow for my life from Jeremy Renner" as a rifle was "aimed at me."
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"There was no acting involved from any party on that," Jordan stated, underscoring the raw authenticity of the scene. He then shared an anecdote revealing the depth of his collaboration with Sheridan: "One of the producers on Lioness the other day said, ‘You know you have an anniversary last week.’ And I said, ‘Do I? What is that?’ And he said, ‘Well, I think it was a week ago, it was last week 10 years ago that you sent in your audition tape for Wind River.’ And I said, ‘Oh my God, it is.’ And I’ve worked primarily for Taylor for the last 10 years. So, it’s been a hell of a ride, a great collaboration. I adore the man. I think he’s a genius, and I’m looking forward to 100 more years if I can do it." This revelation highlights a decade-long professional bond, built on mutual respect and a shared artistic vision.
Despite a relatively concise screen presence compared to other Sheridan regulars, Jordan’s portrayal of Pete was undeniably central to Wind River‘s narrative and emotional impact. Pete is ultimately unmasked as a perpetrator in the brutal beating and murder of Jon Bernthal’s Matt, and the rapist of Kelsey Asbille’s Natalie, who tragically succumbs to the unforgiving cold after her escape. The film’s chilling climax, which Jordan alluded to, features Renner’s Cory Lambert dragging a subdued Pete up the treacherous mountain, coercing a confession before offering him a perverse echo of Natalie’s fate: a desperate, barefoot dash through the snow, culminating in his collapse from the extreme subzero conditions.
The role of Pete in Wind River proved to be a near-transformative experience for Jordan, establishing a pattern in his early Sheridan collaborations. His subsequent turn as livestock agent Steve Hendon in Yellowstone continued this trend, presenting another morally ambiguous figure who committed heinous acts and frequently clashed with Luke Grimes’ Kayce. Hendon’s disappearance after the third season of Yellowstone marked a shift, with Jordan reappearing in the prequel miniseries 1883 in a different capacity. This streak of portraying characters with dubious ethics persisted in Mayor of Kingstown, where he embodied the corrupt corrections officer Ed Simmons, whose narrative arc concluded in the first season.
Fortunately, the true "career-changing tradition" ignited by Wind River wasn’t merely Jordan’s penchant for playing antagonists, but rather the genesis of his enduring and fruitful alliance with Taylor Sheridan. Beyond his contributions to the Yellowstone saga and Mayor of Kingstown, Jordan has delivered memorable performances in Landman, the intense thriller Those Who Wish Me Dead, and the currently filming Lioness. Regarding the latter, he assured Thescreescore.com that its third season promises to be its most expansive yet.
Jordan elaborated on the appeal of Sheridan’s creative approach: "The writing just gets deeper and deeper, and I think that’s what audiences want. They’re introduced to a character, now they want to see what’s under the skin of that character, what really makes him tick. And Taylor being an actor himself, I think he wants to investigate character. He doesn’t care much about plot, neither do we. We want to know what makes these folks tick, and audiences do too, and that’s what keeps them coming back, I think. So, we’re excited to explore that as well." This insight underscores Sheridan’s commitment to psychological depth over mere narrative mechanics, a philosophy clearly shared by his frequent collaborator.
Perhaps the most significant evolution in Jordan’s recent work with Sheridan is his embrace of more sympathetic roles. Characters like Two Cups in Lioness and Dale in Landman offer a welcome contrast to the darker figures of Pete or Hendon, showcasing a broader range for the actor. As Jordan continues production on Lioness season three and remains tight-lipped about a possible involvement in The Madison, it’s clear that this remarkable, career-defining partnership with Taylor Sheridan is poised to continue its compelling trajectory for years to come.
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