Kevin Costner Discusses His Grand Cannes Western ‘Horizon’ and Addresses ‘Yellowstone’ Controversies

Kevin Costner Transforms His Santa Barbara Home into a Post-Production Hub for ‘Horizon’ and Addresses ‘Yellowstone’ Drama

Kevin Costner has repurposed his Santa Barbara residence into a comprehensive post-production facility. One room buzzes with editors working on the first part of Horizon: An American Saga, set for its Cannes premiere, while another focuses on the editing of Part Two. A third space is dedicated to assembling a documentary about the making of this ambitious four-film series. Beyond the workspace lies the 10-acre property Costner has put on the line to bring his post-Civil War vision to life. In this conversation, he shares insights on his serialized storytelling journey and the turmoil surrounding his exit from Yellowstone.

COSTNER: “That’s an interesting question. Life is unpredictable. You could be driving home, and in an instant, everything could change. I’ve experienced that loss firsthand. I’ve lived my life fully, and if I were to go tomorrow without completing the third and fourth films, I’d still cherish the first two. It captures a piece of my heart. When people reflect on my life, I want them to remember my passion.”

Is this your first time at Cannes?

COSTNER: “I attended once with Open Range, but it wasn’t for competition—just to meet buyers. I experienced the red carpet for a Matrix film, which was thrilling. This time feels significant because I have international partners, and it’s the right project for my directorial debut. I hope to return for the third film and possibly bring the second to Venice, though I’m unsure how festival schedules will align.”

He reflects on a past discussion with Francis Ford Coppola about their shared commitment to passion projects that others wouldn’t fund. Both will now premiere their films at Cannes.

COSTNER: “He finished his? That’s wonderful.”

He admires Coppola’s audacity in financing Megalopolis with his own money, echoing the bold move he made with Horizon, which has a current budget of $98 million. “Once I complete the fourth film, I’ll cross the $100 million mark.”

While Coppola leveraged his winery for financial support, Costner has used his Yellowstone salary as a safety net. He acknowledges the financial risks involved.

COSTNER: “I can pursue this dream. My children might not inherit the 10 acres, but they’ll have homes and my legacy. They understand that I’m following my passion. They don’t need material things; they just want to see me happy and healthy.”

He emphasizes the film’s purpose: “I’ve created a movie for the people. It’s my turn to tell this story.”

Could you consider another role, perhaps in Yellowstone?

COSTNER: “That was a great project. Yellowstone became a massive success, but now it’s entangled in rumors and disputes regarding my commitment to it versus Horizon. Where does it stand?”

COSTNER: “Honestly, I haven’t felt great about the situation lately. The discussions around it haven’t been truthful. I signed a contract for seasons five, six, and seven, but after negotiations, they proposed a new contract that split the seasons differently, which complicated my schedule. I planned Horizon around Yellowstone, but they kept shifting their timelines.”

What’s it like preparing for the Cannes premiere?

COSTNER: “I initially thought it would just be Sienna [Miller] and me. Then I decided to invite all the women involved. I sent an email to the guys letting them know I’d be bringing six women. They deserve recognition, and it simplifies things for me. I’m excited to take Ella Hunt, Sienna, Abbey Lee, Isabelle Fuhrman, and Wasé Chief. Anyone else in Europe is welcome too.”

He contrasts this experience with Coppola’s challenges in securing a distributor, noting the glamour of a Cannes premiere.

COSTNER: “I’m thrilled to be going. I don’t want to dive into the Yellowstone controversies, but I need to clarify some truths. I’ve faced unfair criticisms. My commitment to Yellowstone was always my priority; insinuating otherwise is wrong. I didn’t initiate these issues; they did.”

As he discusses the scrutiny both he and Coppola have faced, he acknowledges the inevitable nature of criticism in their line of work.

COSTNER: “Just like in The Godfather Part III, when I think I’m out, they pull me back in. We shouldn’t be surprised by the scrutiny. I love the positive reactions to Horizon, and I hope Francis experiences the same.”