Andy Garcia in season two of 'Landman.' Emerson Miller/Paramount+ Share on Facebook Share on X Google Preferred Share to Flipboard Show additional share options Share on LinkedIn Share on Pinterest Share on Reddit Share on Tumblr Share on Whats App Send an Email Print the Article Post a Comment Logo text [This story contains spoilers from season two, episode two of Landman, "Sins of the Father."] Landman only drops bombs when it comes to Andy Garcia's character. After a season one finale showdown between Garcia and star Billy Bob Thornton - when it was revealed that Garcia's cartel boss Gallino would be pulling the strings as oil fixer Tommy Norris (Thornton) steps up to control the largest independent oil company in Texas after the death of M-Tex CEO (Jon Hamm) - the second episode of season two set off another explosive: Gallino is also the secret backer to Tommy's son Cooper's (Jacob Lofland) new oil venture. Related Stories Movies Spencer Lofranco, 'Gotti' and 'Unbroken' Actor, Dies at 33 TV 'Landman' Season 2 Premiere Sets Paramount+ Viewing Record In three short episodes, Gallino has managed to reluctantly pull both father and son into his grasp, and this, even as viewers have yet to actually see Gallino in season two. When speaking to The Hollywood Reporter, below, the iconic movie actor wouldn't spoil when or how viewers will see him next, but he shared bits about what excited him about the role, along with his casting story and why he hopes to stick around in the Taylor Sheridan-verse. *** How did your Landman casting first came about, and did you take any convincing to make the jump to TV? No convincing at all. My agent said, "Taylor [Sheridan, co-creator] wants to meet you. Will you fly out to Fort Worth to meet him?" I said, "Of course." So I went out to his house. He wanted to talk to me about this part he wanted to write for me. We talked about our past, catching up on our history in the business. He happened to be a big fan of a film I did many years ago called 8 Million Ways to Die. There was a crazy character who was a young drug lord in Los Angeles. We talked a lot about that movie. I talked about how much improvisation there was in the film, and then I told him how much I loved his work and that I was so touched he would want to write something for me. It's like having Shakespeare call you up and say, "I'd like to write a play for you about a prince who has an issue with his father" - and then he sends you Hamlet. That's the way I look at it when Taylor wants to write for you. He's a sublime writer, coming from an acting, teaching and directing background, his revolver is fully loaded with very powerful, creative bullets. So he explained to me who this guy was [Gallino]. I said, "There are cartel people in the Permian Basin?" I had no idea. He said, "Oh, yeah." I said, "Okay, man, I'm all in. Let me know when we go." And that was it. He did have an idea about what the [season one finale] scene was going to be. He hadn't written it yet, but he had in his head conceptually what the scene was going to be, and was ruminating how the character was going to be part of the universe. Then I landed in a beautiful set run by Stephen Kay, who directed all of our second season, with this extraordinary cast and the sublime Billy Bob Thornton, who I knew from before. We were acquaintances, someone I have much respect for, and he was happy to see me and happy to play together. He said, "It's great. We got two old folks, two old veterans going at it." So it was a real joy to explore that relationship together right away. Did you improv any of that season one finale scene with Billy Bob Thornton? Some little things came up. Stephen, before we started the scene, said that Taylor told him, "Let them do their thing. They know what they're doing." But you don't go in with that mindset. It's just the natural process of exploring a scene. Sometimes there's an impulse and an actor will say something or something will happen. In general, people like Stephen Kay, who is also an actor, or Taylor, knows an embellishment or an improvisation that spontaneously comes up, if they can use it or not. It's not a form of disrespect to the material, but to the contrary. It's something stimulated from the material where the actors take control for a moment and have something to say. With film, it's not like a piece of theater you're rehearsing for many weeks and then doing for six months. You go in and have two or three hours to explore. You talk about the blocking and movement of the scene, either emotionally or physically, and once everybody agrees that it feels right, you try to squeeze the juice out of the sponge as much as you can. Every take is different. One take there might be an improvisation, the other take there isn't. It's the exploration of the raw material so Taylor and the editor and directors can receive all these goodies to play around with. That finale was a fun surprise for viewers, revealing how Gallino wi