A Quote by Bill Pullman
I did this play, 'Expedition 6,' that I worked on for three years in between other things. It was a good, interesting time for me because I trained as a theater director, and I went back, and we toured it around.
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I worked at the Northlight Theater in Skokie, and the Mercury Theater on South Port. I actually did a show there for three years, called 'Over the Tavern.'
I was terrible in my first play. After that experience, I had to face that I wasn't good enough to play with the big boys. I had to go away and learn, so I worked in regional theater for three years. I even understudied at the Kennedy Center.
Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.
I was terrible in my first play. After that experience, I had to face that I wasnt good enough to play with the big boys. I had to go away and learn, so I worked in regional theater for three years. I even understudied at the Kennedy Center.
I have to work hard and wear pants. I've worked really hard these last years, and since everything is coming together at the same time, I had to move the play back. I'm kind of in love with my theater agent. I'm a true naïve about the theater, a total innocent. He says to me, have you ever been to a rehearsal room? Do you realize you are opening at the Public in New York? You do understand that the audience will be New York theater people?
I worked at Dollywood when I was a kid. Then I worked at Opryland. I worked at a variety of theater things in Atlanta. I was also in a choir for two years where we did 'Annie' and 'Joseph and the Amazing Technicolor Dreamcoat.'
My first time acting for camera really was for Steven Spielberg in War Horse. I was trained in theater and I was actually working in theater at the time. I had a small role with the Royal Shakespeare Company, which is a huge prestigious theater company back in England. I honestly thought that was as good as it got.
I trained as a classical actor in London for three years. We did Tennessee Williams and dialect and accent classes; they were one of my favorite things to do each week. And we'd strip it down to the phonetics and listen to the sound. It was a really interesting way to look at it all.
I was lucky enough to get into drama school in London back in 2005, and I was there for three years, and in those three years, we did a lot of theater. A lot of classical training.
I worked in a steel mill, I worked in a foundry, I worked in a paper mill, I worked in a chemical refinery, construction, I did all that. It was great work, it was good. I learned welding, mechanic, carpentry, but it saved me from going back to prison because that's helpful. It's really sad because those jobs are gone.
I did a play in New York at the public theater, a Shakespeare play, and M. Night Shyamalan, who is the writer/director of 'The Village,' came and saw me in the play and asked to go to lunch afterwards.
The difference between working with actors that have put their time in the theater and just straight film and television actors is that you trust theater actors a lot more. You know that they're seriously more trained than anyone else because theater is the best place to grow as an actor.
In theater they want to put you on a contract a year in advance and I don't really like that. That's the reason why I became an actor - I like the freelance work. It's interesting, I like not being told what to do still, and I have a job where people tell me exactly what to do, so maybe I don't know myself as well as I want to. I think my last play I did was three years ago.
I saw things at an early age because my mom was a theater actress. I did a play with her when I was 10 years old.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
One of the differences between now and then is that the idea of body image is a much bigger issue now. Back then, just being kind of heavy and barrel-chested passed for heroic. Now, you wouldn't dare to play a hero without a lot of dieting and various specialised abdomen machines. But that was one of the things which was interesting about it and I did want to portray because there's good and bad.
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