Annette Bening about Beulah’s wardrobe, accent and arguments

“Dutton Ranch” is a high-profile spinoff of “Yellowstone,” but Annette Bening, a new addition to Taylor Sheridan’s universe, steals every scene she’s been in. Bening plays Beulah Jackson, a larger-than-life Texas businesswoman who owns and operates 10 Petal Ranch with her family. But this matriarch isn’t afraid to make tough decisions, and it’s clear she’ll battle our heroes, Beth (Kelly Reilly) and Rip (Cole Hauser), as they try to do business on her turf.

Bening spoke to Variety about perfecting every aspect of Beulah, from her accent to her wardrobe to the internal drama that makes her such a compelling character.

How did the opportunity to join the ‘Yellowstone’ universe come about?

Well, they called me and said, “Do you want us to tell you the story and what we envision?” So I said, “Sure, why not?” I had seen ‘Yellowstone’. I found it quite overwhelming. So I knew it was Kelly Reilly and Cole Hauser, and they told me the story was going to unfold with Ed Harris as well. They intrigued me and I thought, “Beulah, she’s interesting.” She’s a farmer, but she longs for love because she wants to keep everything together, which she can’t do, and that’s why the show happens. Many things fall apart and crackle inside her. There is a pain and longing in her, which I found interesting to explore. That’s why I became intrigued by the adventure.

What was your process for developing Beulah off-script?

I was lucky. I was able to go to Fort Worth, and there was a particular woman I met, a farmer’s wife, who took me in and showed me around. Then I started listening to different accents and different people, and I was introduced to a wonderful journalist from Texas named Molly Ivins, who was a very progressive, wonderful character. She became quite famous because she was from Texas, and that was during the time of George Bush. She passed away, but she wrote a lot, and she also had a beautiful accent. She was friends with Ann Richards, the governor of Texas, who I also listened to a lot. So I made this all up and then spent a lot of time talking to our showrunner, Chad Feehan, about the history, because this woman has a history with her father and the legacy of the ranch and the history of the ranch itself, which is very much based on real Texas, how ranches got started and who those people were and how many of these families have survived to this day.

How have you worked on perfecting your accent?

I’m listening a lot. That’s always the most powerful part. I was somewhat familiar with it, but I think, especially now, regional accents are changing so much because we’re all starting to look alike around the world. In Texas, some people sound very strong, other people very mild. So I worked that out in terms of how far I had to go and what that sound could be. It felt natural to me and right for the character. It was a wonderful research exploration.

Your wardrobe in the show is very dynamic. What was the process of finding the right outfits?

It was a learning curve on my part because they showed me the level of bling, and we didn’t even go as far as we could have gone, which is not true for all, but many women in Texas. For many ranchers it’s only when they go to the rodeo or when they have a party, and for other people it’s an everyday thing. There’s the turquoise and the diamonds and the fringe and the sequins and all that. So I enjoyed all that. As we got further into it, I understood how normal it is. It’s just part of the culture there, and I love it.

You have such a popping energy when you work with Kelly and Cole on screen. What was your process for integrating yourself into their world?

I started to see how this would all play out if Ed Harris played Everett, who my sons were with, who my granddaughter was, who Beth and Rip were. I became part of this group. That’s where you start to feel it a little bit and see where you stand in it. Of course, I try to mine the things I’ve been given, and I make it as complete and interesting as I can. So that all felt quite organic.

What was shooting in Texas like and how did it influence your process?

It was a pleasure, because we often photograph in places where we are not allowed to be. We’re in England shooting for Los Angeles, or Australia for Los Angeles. So we’re shooting where we need to be, although South Texas is more where we need to be, and we’re in Fort Worth. But us were in Fort Worth. So it was a joy to be able to be outside, in the ranch world and in the fresh air. It gets very hot, it gets very cold, it gets windy. I really love that and love being out of the city centers and into the middle of the country. Just from a personal point of view, it was also joyful for me to live in this different environment and be immersed in it and experience it.

What can you tease about Beulah’s journey this season?

I think the journey is one of increasing desperation, to tell you the truth. She tries to keep everything together: the family, the well-being of her children and her granddaughter, her relationship with Everett. The journey is one of trying to hold together something that is falling apart. Her level of vulnerability and desperation increases as the story progresses.

You’ve had so many iconic roles, but is there a project you’ve made in the past that perhaps didn’t get the reception you hoped for, and that you think is in need of a cultural reappraisal?

I’ve made films that mean so much to me that very few people have seen. I made a film with Rodrigo García called ‘Mother and Child’ which I love – that process and the film and all that. It’s funny how some things capture people’s imaginations and others don’t, and I’m okay with that. I have learned that experience is what it is, and no one can ever take that away from me. I definitely love that movie, and people who have seen it talk to me about it, and I’ve had great experiences with people who have seen it and have approached me about it. I have also connected other films that are better known to people and that never gets old. That means so much to me.