Taylor Sheridan is already deep into another high-stakes project while Landman gears up for production and the latest collaboration keeps the same tight circle of trusted talent. He has quietly teamed up again with Brandon Sklenar the breakout from 1923 for a secretive thriller titled F.A.S.T. that managed to film large-scale sequences across Spain without drawing the usual spotlight. The production moved through Marbella Alicante Murcia Madrid and Toledo yet stayed remarkably under the radar thanks to careful local handling. Peter Welter executive producer and CEO of the Malaga-based Fresco Film explained that part of their job for major studios is exactly this kind of discretion and this time they pulled it off. The deeper flex is how Sheridan continues to expand his empire by keeping the cameras rolling on new stories even while his existing universe stays in the cultural conversation. F.A.S.T. feels like another chapter in the same hard-edged world he has been building for years.

The official synopsis sets up a classic Sheridan-style antihero story that already carries the familiar grit. A former special forces commando returns Stateside down on his luck and gets tapped by the DEA to lead a black-op strike team against CIA-protected drug dealers operating in his own town. That premise alone signals the same mix of loyalty betrayal and moral gray zones that defined earlier projects. Brandon Sklenar steps into the lead after the momentum he gained playing Spencer Dutton and the rest of the cast stacks serious weight around him. Juliana Canfield LaKeith Stanfield Jason Clarke Sam Claflin Trevante Rhodes and Chloe Coleman round out a lineup that looks built for intensity rather than easy charm. The combination of Sheridan’s writing instincts and this particular group of actors suggests the finished film will lean hard into tension instead of spectacle for its own sake.

Local production details reveal just how deliberately the shoot stayed hidden in plain sight. Welter described finding a mansion between Marbella and Estepona that could double as the residence of the drug traffickers and the private residential setting made it easy to camouflage the entire operation. The production also occupied three soundstages over a full fourteen-week schedule which qualifies as a major shoot by any measure. Keeping that scale quiet required real coordination and the Spanish crew delivered exactly the low profile the filmmakers wanted. The ability to film at this level without the usual online tracking says as much about Sheridan’s preference for control as it does about the efficiency of the local team. In an era when almost every large production leaks early the silence around F.A.S.T. already feels like a flex.

Brandon Sklenar’s path to this project runs directly through the Yellowstone universe that first put him on the map. The 1923 spinoff starred Helen Mirren and Harrison Ford as earlier generations of the Dutton family while Sklenar stole scenes as Spencer navigating drought and Prohibition-era pressure. That role arrived after more than a decade of grinding and he has never been shy about crediting Sheridan for the breakthrough. In interviews he has said he owes the entire career jump to the faith Sheridan placed in him and that the debt still feels permanent. The reunion on F.A.S.T. therefore carries extra weight because it continues a working relationship that already changed the trajectory of his professional life. Fans who watched him hold his own opposite major legends now get to see what he does when the material is built specifically around a modern action-thriller engine.

Sklenar has been open about wanting to keep growing beyond the roles that first brought attention. He told Forbes he remains excited to work with strong directors and actors while continuing to learn and that directing sits on his five-year horizon. The little-kid dream of eventually doing a proper straight western still lives somewhere in the background even after touching pieces of that world in 1923. Those comments paint a picture of an actor who treats the current momentum as a foundation rather than a finish line. Reuniting with Sheridan so soon after the 1923 run suggests the trust runs both ways and that the new thriller is another deliberate step rather than a random payday. The Spain shoot becomes part of a longer arc in which each project is meant to sharpen the next set of skills.

The larger pattern shows Sheridan continuing to operate like a one-man studio even while individual shows move through different phases. Landman is preparing to go into production yet he still found the bandwidth to executive-produce and shape another feature that filmed across multiple Spanish locations. Keeping the entire process quiet required the same disciplined approach he brings to the storytelling itself. For Sklenar the project arrives at a moment when his post-1923 opportunities have already expanded into films like It Ends with Us Drop and The Housemaid. The decision to circle back to Sheridan so quickly signals that the creative relationship still feels like home base. In the end F.A.S.T. looks less like a side hustle and more like the next calculated move in a partnership that keeps delivering for both sides.