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Bill Pullman Biography

Bill Pullman is an American film maker, stage presenter, and television actor born on December 17, 1953 in Hornell, New York, U.S. He is best known for making his debut film in the 1986 film Ruthless People, and he has also gone on and stared in other films, such as Spaceballs (1987), The Accidental Tourist (1988), Sleepless In Seattle (1993), While You Were Sleeping (1995), Casper (1995), Independence Day (1996), Lost Highway (1997) and Lake Placid (1999).

Bill Pullman Age

Bill Pullman is 65 years old as of 2018

Bill Pullman Height

Bill Pullman stands at a height of 1. 87 m.

Bill Pullman Net worth

Bill Pullman has an estimated net worth of $18 million dollars.

Bill Pullman Family

Bill Pullman was born to James Pullman (father) and Johanna Pullman (mother) who was a doctor while his father worked as a Doctor. His mother was a Dutch and his father was born from English, Northern Irish, and Scottish descent.

Bill Pullman Siblings

Bill Pullman has one sibling Jay Pullman (brother)

Bill Pullman Education

Bill Pullman graduated from Hornell High School in 1971 and he late joined the State University of New York at Delhi (SUNY Delhi) he then went to State University of New York at Oneonta in the 1970s. He received his Masters degree of Fine Arts from the University of Massachusetts Amherst.

Bill Pullman Wife

Bill Pullman is married to Tamara Hurwitz, who was a modern dancer.

Bill Pullman Children

Bill Pullman has three children actor Lewis Pullman, singer-songwriter Maesa Pullman, and Jack Pullman.

Bill Pullman Career/Actor

Bill Pullman worked as an adjunct professor at Montana State University before deciding to pursue acting. During the 1980, he worked with theater companies around New York and Los Angeles. His first prominent film role was in Ruthless People (which starred Danny DeVito and Bette Midler). His Other notable films included the lead in Spaceballs (1987), The Serpent and the Rainbow (with Zakes Mokae), and While You Were Sleeping (1995). In 1996, he played the president of the United States in the sci-fi film Independence Day. A year later he had a major role in Lost Highway (1997) and voiced Korso in the animated post-apocalyptic film Titan A.E..

His more recent films include: The Grudge and Scary Movie 4. He also starred along with Christian Bale in the musical Newsies. He was nominated for the 2002 Drama Desk Award Outstanding Actor in a Play. For his performance, Pullman received a second Drama Desk Award nomination for Outstanding Actor in a Play in 2008. His first play, Expedition 6, is about the International Space Station mission Expedition 6 that was in orbit at the time that the Space Shuttle Columbia was destroyed on reentry, grounding the U.S. space shuttle program, which was to provide the vehicle for the crew’s return to earth.

The production opened at the John Golden Theatre October 11, 2009, and closed on December 6, 2009, playing 65 performances. He has played as Oswald Danes, a pedophile and child killer, in Torchwood: Miracle Day, the fourth series of the BBC/Starz Entertainment television show Torchwood, the former of which began airing in July 2011. For his performance as Danes, Pullman received a Saturn Award nomination for Best Supporting Actor on Television. From 2012-13, he portrayed the President of the United States in the television comedy series 1600 Penn.

Bill Pullman Movies

Bill Pullman Tv Shows

Bill Pullman Awards and Nominations

Bill Pullman Quotes

• Rural towns aren’t always idyllic. It’s easy to feel trapped and be aware of social hypocrisy.
• We’ve seen with Brexit and other things that there’s a dark impulse to be petulant and frustrated with complicated solutions.
• I don’t like this instinct of reality television to wear your lifestyle in public. I’ve really always loved the anonymity of things.
• Sometimes you fall into the niche of being the confidant guy, or the good-looking guy, or being too charactery, or not charactery enough.
• I planted an orchard when I was 13. The impulse came from wanting to grow my own apples. That and the nursery catalog showed an apple tree with a beautiful girl standing under the fruit. Whether the flavor or the picture that did it, I’ve been hooked since.
• It’s hard to explain to people how, if you’re really capable of providing the right professional work environment, it allows you to get more personal.
• ‘The Last Seduction,’ ‘Sleepless in Seattle’ and ‘While You Were Sleeping’ did a lot to get me noticed for bigger roles.
• Othello is someone who’s just had a victory, and it’s the aftermath of coming back and attempting to live comfortably as a civilian.
• Globalisation is happening so fast it’s confusing for people, and tolerance is threatened.
• We’ve seen with Brexit and other things that there’s a dark impulse to be petulant and frustrated with complicated solutions.
• I have always been impressed by the fruit community. There is a Tao of fruit, which is generous. You share what you know, and you give what you can.
• There was an idea of accepting everyone; there was no sense of exclusion.
• There is something exciting when you see people who are very formal talking with each other, and there is a sense that they have chosen to be that way. There is something masked that is more interesting to me than just people who are intent on displaying their uniqueness or whatever.
• I enjoy that with theater, you can just go into a room with a paper bag lunch: there’re no cables, no electricity. It’s the purest experience.
• Growing things and being able to live off the land has always appealed to me.
• I think Westerns are always so great for clearing out the clutter and the ambiguities, and getting right to the broad strokes of that kind of situation.
• With While You Were Sleeping, it was so much fun and such a Cinderella story, that I didn’t want to do another romantic comedy. I wanted to do the opposite.
• Truthfully, I almost avoided ‘While You Were Sleeping,’ because I find those romantic comedies kind of precious, and they’re full of lines that leave you feeling a little bewildered when you say them.
• I also turn down what’s probably a good amount of coinage to be made out of playing dads, an incredible number of obnoxious
• I do take lots of time off between projects, but when the right thing comes along, I don’t like to turn it down, I’ve been doing this for a decade, and I remember what it was like when I started. You spend maybe five percent of your time actually doing it, and the rest of the time, you’re trying to get that five percent.
• I always loved asking everybody when I arrived in England, from the drivers who picked me up to the people at the hotel to people I met when I was walking in the park, almost everyone at some point would say, ‘Everyone loves Ant & Dec!’ From eight to 80.
• I always feel like there are a lot of different types of favourites. There are some that I look to for interesting things, some that I look to for acting things, others that I watch again and again.
• I’m not the first one to say it, but that time onstage is a heightened sense of present tense.
• As an actor, you’re continually riding the waves of whether you’re in or out, getting work or not getting work, and Kazan was really a guy who was condemned into not working and looking to go deep into someplace and just live inside his art.

Bill Pullman You tube Interview

We have the warm corner of the warehouse. Unfortunately not where you’re sitting.

BILL PULLMAN:  Man, aren’t you guys all smart that you all brought coats. But you didn’t.

I’m the dumb one.

BILL  PULLMAN: Well, you know, they could get you a coat.

They could get you a coat. We’re not important.

BILL PULLMAN: No! They could get you a coat! We could share this coat. I’ll go half of the interview, then you get it the other half.

That’s very generous of you. I think I’ll soldier through it, though. Now, did you make this before you made Bottle..Shock?

BILL PULLMAN: Yeah, Bottle Shock. Yeah.

It’s just so different. We did the junket for Bottle Shock and then I see this and I go, ‘I can’t believe this is the same people who made those movies.’

BILL PULLMAN: Aren’t titles funny? ‘Cuz did you start to say Bottle Rocket?

I was going to say Bottle Rocket, and I’ve said it before.

BILL  PULLMAN: Isn’t that funny? Sometimes there’s like a little virus in a title. AndNobel Son has that, too, because you want to say “noble son,” but you’ve got to do a little check.

But isn’t that just a play on words?

BILL PULLMAN: Play on words, yeah. Yeah.

Isn’t that just an intentional pun?

BILL PULLMAN: Randy [Miller] is so glad that you’re saying that. I know there were people that were saying, ‘That’s a terrible title.’ And he goes, ‘No. It’s a smart title.’

It is. It captures everything, I think.

BILL PULLMAN: Do you want to know what the other title that they were trying to get him to do?

Of course we do.

BILL PULLMAN: “Spanked.”

Uh. Oh.

BILL PULLMAN: Like that title! Like the idea!

Seems like a different movie, to me. Maybe, like, the sequel to Secretary.

BILL PULLMAN: Yeah. Yeah. It’s supposed—I think they were trying to push it towards another title, like a Guy Ritchie type title or… And I think that’s what they were.

That makes sense.

BILL PULLMAN: You know how they looked at… ride his coattails.

How did you get to know Randy? Was this the first film that you’d done with him? Did you know him before?

BILL PULLMAN: No, I didn’t know him before. He came out of the blue in the way that you take for granted at a certain point. These things are always like, ‘What’s going to go on now? I don’t know.’ And somebody will say, ‘Oh this guy, you’ve got to go meet him. He’s got a part for ya.’ And I didn’t know about the… I think I was always dragging my heels on things, and I was thinking, ‘I don’t know, maybe, maybe not.’ But then I met him and I was very intrigued by how they were doing it all out of their house in Pasadena. And then I got intrigued by the fact that it was set in Pasadena and that a lot of it is about his life. And I’ve always though that LA—I’m not from LA, but I like all these movies about LA.

There’s a whole spectrum of LA Confidential and that kind of noir-ish side of it and everything. And then there’s this, to me this movie is these people that are kind of out of their depth, doing things out of desperation, and there’s a side of LA that feels like a desert town, you know? It’s a desert town, still. It’s a town, you know? I kind of got hooked about my character being that kind of—LA is kind of supposed to be a big city, but there’s times where it feels like it’s all a charade and we’re still a desert town not far away from Vegas, and all those other artificial put water down and grow lawns and all of a sudden this is a city, a world class city. But it was just dust not long ago. So that’s kind of where I got hooked, I think.

More than your character? You got more hooked on the story and the place?

BILL PULLMAN: Yeah. I liked the character. And Randy was like, ‘yeah yeah’ and I kind of had a good time with the costumer coming up with it all. Randy was collaborative, and I wanted to see how they would do the whole thing. It was kind of the character and the movie, I guess.

Did you get a lot of input in your character? Ad lib?

BILL  PULLMAN: I was trying to think whether there was… there’s been other movies that changed a lot more than this one did. There was in every scene subtle adjustments and things that he was interested in. God, it was two years ago now. There was one scene that I think he added, but I can’t remember which one it was.

You had a nice chemistry with all the people that you worked with. Is it nice to come back and work opposite the same people again?

BILL  PULLMAN: Well, this was the first time I’d been around Alan [Rickman], working with him. I knew him. He did on Broadway in 2002, he did Private Lives and I was doing a play on Broadway the same time—

You know, on Bottle Shock, we got wine.

BILL  PULLMAN: This is probably better for this movie, this kind of back of the warehouse…

So you were working on Broadway…

BILL  PULLMAN: Broadway, and then that way, Broadway is kind of great that way where people will tend to go to each other’s shows on the nights off. He and Lindsay Duncan, there’s only like one night off where you have a Monday night show and other actors will come to it.

And what show were you doing?

BILL  PULLMAN: I was doing The Goat, which was a play by Edward Albee. It was great to meet him there and great to see him again on this, so that by the time we were doing Bottle Shock, we had a lot of things in common.

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