A Quote by Bill Pullman
I did 'Malice,' 'Sommersby,' and 'Sleepless in Seattle,' and they're as disparate characters as I've ever played. But somehow, there was that thing - they were all second male leads, so they all didn't get the girl in some weird way.
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'The Last Seduction,' 'Sleepless in Seattle' and 'While You Were Sleeping' did a lot to get me noticed for bigger roles.
I played a Siamese girl from Thailand. I played an Arabian girl. I did a lot of American Indians. I never, ever was able to do a part without assuming some kind of accent.
My parents played by parents, in the second season [of Suits]. We had a Skype scene and they were my real parents. My parents are cartoons. When they come up and visit, they're hilarious. My mother somehow finds a way to get in the way of everything.
I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.
I knew that Weird Girl was going to be kind of amazing. The secret truth of Weird Girl is that I put her in there originally because I needed some way to set the boys' names.
His [Michael Jackson] behavior was weird, but when you get an artist and a genius, many of the geniuses throughout our whole history were weird. And they did weird things because none of us could understand what was on their mind and why they did what they did.
I'm glad things are getting better, but I'm going to push and be pissed off until they're perfect. That will probably never happen, but I feel some weird duty nonetheless. Even though I can get married in Seattle, I could go to another country and get the death penalty just for being myself-I'm not making music just for fiancés in Seattle.
The film industry is driven by male narrative. Heads of studios are often men, teeming with male executives everywhere you look, and so the narratives we have the screenwriters usually for male leads. Women tend to be second string: the girlfriend of, the secretary who becomes.
Men ruled the roost and women played a subservient role [in the 1960s]. Working wives were a rarity, because their place was in the home, bringing up the kids. The women who did work were treated as second-class citizens because it was a male-dominated society. That was a fact of life then. But it wouldn't be tolerated today, and that's quite right in my book... people look back on those days through a thick veil of nostalgia, but life was hard if you were anything other than a rich, powerful, white male.
In sixth grade, some kid was being inappropriate with a girl. I said he better stop. Next thing were fighting. Then were at the principals office. I got just as much punishment as he did, even though I felt I did the right thing.
A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.
If I did want to get a girl's attention, it would just be in some way where I would just start talking to her. It would have to feel organic. It's too weird otherwise.
I remember the last time the Grateful Dead played in Seattle, at the Seattle Center. I was living there, and after the show, I was walking to work near there, and I'd never seen so much debris. There were mountains of garbage.
... once you were in, they put a note in your file that said you were in therapy, and all your teachers saw that file. They might as well have tattooed CRAZY on your forehead. The next year every teacher would be watching you for the first weird thing you did—and has there ever been a kid who never does anything an adult considers weird?
Lars is played by Ryan Gosling, the Prince of Tics, whose idea of acting is to wait a few beats before reacting to other people's remarks, as if acting were merely a matter of adhering to the seven-second delay rule. Jack Nicholson has made a career out of doing this sort of thing, as did Paul Newman, as did Marlon Brando (who the other two learned it from), but they didn't do it all the time and they were more fun to look at... Lars And The Real Girl joins a number of other recent films in the category of motion pictures where the director doesn't know that his protagonist is unsympathetic.
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