Yellowstone star who played Jamie Dutton’s evil lover does not look like this anymore
As a seasoned actor with a rich and varied background, I find myself deeply moved by the insights and experiences shared by Dawn Olivieri in her recent interview. Her ability to breathe life into complex characters like Sarah is nothing short of extraordinary.
Dawn Olivieri doesn’t look the same since leaving the show this fall.
The 43-year-old beauty played the evil fixer Sarah Atwood on Yellowstone.
When she wasn’t showcasing her toned physique in lingerie to captivate Jamie Dutton, portrayed by Wes Bentley, she had a style that was professional with short, dark hair and business attire.
In real life she does not look the same.
This month, I found myself reminding my followers of my true appearance as I graced the red carpet at the Los Angeles premiere of Homestead at The Grove Theater. As both a Dynamo actress and Lioness member, it was an honor to be there.
At dawn, she possessed a cascade of long, soft light brown tresses. Her makeup was subtly toned, leaning more towards neutrals, and she adorned herself in a sophisticated, low-cut metallic gown.
The 43-year-old served as the highly sexualized plot architect at Market Equities who orchestrated the murder of John Dutton, a role portrayed by Kevin Costner.
This eventually culminated in her being fatally gunned down in her vehicle by an assassin, concluding her violent rule.
It’s possible that her face seems recognizable to you, as she’s been featured in not one but two other series created by Taylor Sheridan, the mind behind Yellowstone.
And in one of them she remarkably plays an ancestor of John Dutton.
Apart from Yellowstone, she also played Claire Dutton in the prequel titled 1883, alongside Tim McGraw and Faith Hill.
More recently, U.S. Army Sergeant Major Amber Whalen was featured on the CIA black ops series “Lioness,” starring alongside Nicole Kidman and Zoe Saldana.
Fans have taken to X this month to express their shock over Dawn’s acting range.
‘Dude, that hot lady on Yellowstone was the drab old woman on 1883? Get out,’ wrote one fan.
A fan then shared: ‘After making her look like dog meat for 1883, they owed her. Was happy to see her as a femme fatale in Yellowstone. Sad she is gone.’
Another said: ‘They un-glammed her for Lioness, amazing, I barely recognized her. From Yellowstone to Lioness in one week is awesome.’
Olivieri, who previously appeared in shows like Heroes and House of Lies, is aware that her role as the Market Equities fixer in Yellowstone was not given to her by chance; she explained this to The Hollywood Reporter last month.
And she was not shocked by her cruel murder when she read the script.
She admitted, “I had a feeling it was inevitable,” and reading about it felt like, “‘Now we’re off!’ We’ve achieved what we all hoped for. I believe everyone is content now that the train station has been built.
The ‘train station’ is where bad people get killed.
Olivieri has called her Yellowstone character a serpent who never shows her colors.
She mentioned that I often play a character who is loathed yet adored, one that consistently sets up the protagonist for victory. The main character ultimately triumphs through a kind of mutual dependence with the antagonist, as if they are intertwined in some way.
As an ardent enthusiast, I embark on a captivating odyssey with each acting role, striving to delve as deeply and authentically as my craft allows. With every character’s demise in my career (a chuckle escapes me), I get the unique opportunity to embody that profound phrase, ‘dying before you die.’ It’s a chance to live and breathe the ultimate experience professionally!
And she is close to the Yellowstone creator.
‘Taylor stands out, he’s unique in my experience, as the passing of someone doesn’t signify an end for me, rather a transition to another realm. Remarkably, Taylor quickly shifted my attention to another production. So, it’s intriguing to find myself engaged in something new after reading about him.’ (She said)
She is talking about her role on Lioness.
He relocated me to that place. They chose not to disclose it earlier since doing so could have ruined the surprise and revealed the plot twist to everyone.
She was seen opposite Saldana in a December 1 episode.
Concerning the events in 1883 and Yellowstone where Sheridan met his end, Dawn expresses her sentiments as follows: ‘The whole thing is chaotic. He’s utterly mad, and I find it incredibly captivating!’
She added: ‘He’s still doing whatever the f*** he wants!’
Dawn also talked about how her characters are so different.
‘Each one is unique in its own way, and that’s something he often tells me. Taylor refers to me as his Multitool. He’ll send me a message saying, “Hey, Multitool. I need you.” To which I respond, “At your service.”‘
‘My last text to him was literally, “You tell me what and where, and I’m there.” And that’s it, that’s my response. Another show, another day, another character.’
Prior to her death at Yellowstone, it appeared as though she harbored affection for Jamie Dutton, played by Wes Bentley.
Dawn observed, “Funny enough, the situation was something I decided on. In retrospect, I might have handled it differently. Instead of being aloof and calm, perhaps I could have been more straightforward about how I felt.
In my perspective, the term ‘villain’ isn’t just a broad category assigned to the antagonist that the protagonist confronts. To me, a ‘villain’ represents something more nuanced.
A villain is an individual who exhibits great determination and ambition, possibly shaped by past traumas, which often leads them to become fixated on work and power. The understanding and exploitation of power can also define them as a villain.
“People fear your understanding of power structures, and when you leverage this knowledge for your benefit, you become a powerful figure. The women in Taylor’s novels share similar traits.” This version is natural and easy to read while maintaining the original meaning.
In this manner, I pour all that I am into my interactions. I always keep in mind the balance of power and the social hierarchy among individuals.
In my actual life, I found myself drawn to a horse rescue center because horses possess an inherent sense of spatial awareness. Their social structure is heavily influenced by who holds more power within the group – the strongest individual or group. By observing horses, you can notice how the lead mare remains calm, yet wields significant influence among them.
‘There’s a whole language going on across the board in nature that you can take on as a human being, and when you mimic that, you become the boss. It’s how you look at things. It’s how much you trust in a moment. It’s how much you trust yourself. So a villain is just extremely strong as a human being, and that’s very off-putting for most people.’
And she described how she carefully adds to a character.
It lacks appeal to observe someone who possesses absolute power and excels in every aspect succumbing to death. The sentiment seems more akin to, “Well, that’s too bad, see you later,” rather than expressing genuine concern or emotion towards the individual. It appears as though one remains indifferent towards such an individual.
In crafting each character, I strive to portray them as fiercely determined individuals who may commit despicable acts with great passion. However, my ultimate goal is for them to reach a point of complete disintegration or breakdown. This moment, just before death, is one that I believe everyone should experience, even the characters I’ve brought to life, because they matter to me. After all, they are as human as we are, and this is the human element I seek to convey.
She also talked playing Claire in 1883.
In a moment just prior to her passing, Dawn remarked about her grumpy pioneer, saying, “We finally got a glimpse of her then, and it was in that instant that we truly came to understand her.
In a somewhat unsettling manner, I ponder that many individuals might be navigating similar paths as mine in their human odyssey.
‘They could be those parents who, due to personal struggles such as traumas or addictions, found it challenging to express love appropriately. However, in a final, poignant moment, there seems to be a surge of ethereal, childlike energy within them. This allows them to communicate more deeply than ever before with their children or loved ones.’
She commented: ‘That moment always captivates me, as Taylor puts it, and he describes such intriguing characters. I find it incredibly deep.’
Dawn loved that she could give evil Sarah some dimension.
Speaking about it, reaching that special moment with Sarah had been my ultimate aim. Sarah seemed to be manipulating Jamie, yet she was simultaneously finding herself falling for him.
In the final moments, did she develop feelings for him deeply, and how on earth will Jamie manage to face his impending trials without her by his side?
‘Many individuals accumulate distorted viewpoints during their lifetime. It might seem comparable to physical discomfort when approaching someone who has experienced molestation. Imagine the difficulty of sharing feelings when it causes pain, is potentially harmful, or triggers past trauma.’
To experience a character possibly overwhelmed by a significant moment, it propels them [Sarah and Jamie] into a state of balance where honesty prevails. Since we all yearn for connection, desire tender affection when we’re secure and content, and have been treated kindly. However, Sarah is not in a good place; she’s not right. For her, power equates to love, and the exchange that feels like love is: ‘You demonstrate care by defeating me or by listening attentively to everything I say.’
The Florida resident expressed his belief that her actions were an expression of love, and it seemed as though Jamie reciprocated this sentiment. What stood out was their shared ability to understand and speak this ‘language’, which appeared to be the foundation of their connection.
In a different context, they could have been a formidable duo, striking fear in those opposing them! She complemented him perfectly, filling the gaps he lacked. He was indecisive and lacked self-drive. But she stepped in, saying ‘Let me empower you. I’ll guide you. I will instill the confidence needed to take charge,’ making them a power couple indeed. The harmony of their roles is what makes them effective; it’s their synergy that makes them unstoppable!
Afterward, Dawn explained: “I seldom take on characters who often fail. I consider myself a ‘closer.’ If you bring me into the mix, I’ll succeed at whatever task you assign me, or I’ll disrupt something – that’s it for the show! (Laughs.) It’s quite impressive. However, if you don’t include this in the script, you’re not leveraging the power I bring. Taylor is aware of this now and I’m confident he’ll write it this way because I have the ability to pull it off. Rarely am I not the most powerful character in a room, even when surrounded by men.
As the characters I embody, I often find myself being their tough competitor. Be it Don Cheadle in House of Lies or any other role I’m paired with, I’m chosen because I bring a challenge. After all, why would you cast a character without intending to give them a good fight? It’s essential to offer something for them to overcome, so they can ultimately outshine it.
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2024-12-18 18:06