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.

I'm not the first one to say it, but that time onstage is a heightened sense of present tense.

Zabriskie Point' was a time when I was in a lot of change and flux, and these incredible visuals hit me like they had rearranged the organs in my body. The ending and the free-floating debris and everything is an image that burned itself in my consciousness.

I have gotten a number of invitations to be on television shows as 'the dad,' but that was Kryptonite to me. I was like, 'This would be the death of me. I'll be a cesspool of niceness.' It doesn't feed me.

I'm often confused with other actors. But the people who know my work don't have that problem.

Stacy Keach was really fun to work with, and Henry Winkler was very fun.

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.

Television tends to be a more difficult medium for me to get my head around sometimes when it comes to certain things I get offered.

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.