Bruce Willis talks about his early days as an actor

March 27, 2009 by Lance Carter

Here is a great interview Bruce Willis gave about his early days as a young actor. From his decision to become an actor to his time on Moonlighting, this is really a must read.

Q: When did you decide to become an actor?

A: It wasn’t gradual. It was a very abrupt choice. It was the first year I was a student at Montclair State College (now a university) out in Jersey. They had a great theater department, where stage directors would come out from New York City and help. My first play as a freshman, I realized this is what I want to do. Never looked back. Never considered anything else. I was 19. The role was a small part, Ruckley in “One Flew Over the Cuckoo’s Nest.” I changed most of my classes and took all acting and theater-related courses. By the beginning of third semester, I was cutting class to go to auditions for plays out in New York. Got into a play in 1976 and moved to New York.

Q: What was going through your mind in those days?

A: I had been in New York for a couple of years doing theater. For me, to work on any film, let alone one with Frank Sinatra or Faye Dunaway, I was thrilled. I thought I was in show business, albeit on the perimeter. A couple of things happened on that film. It was back in the day when I still had a big full head of hair, and I had just shaved my hair for an independent film called “A Guru Comes.” I answered an ad “must have shaved head.” So I shaved my head the night before. I went in to audition for “First Deadly Sin,” and the director, Brian Hutton, later gave me a small speaking part.

Q: When did you realize you were a good actor?

A: It was a staircase of work. Every job I got seemed to be a little better part with a little more to do, a little more challenging. I’d study in between with Stella Adler, who took a liking to me and helped out a lot. The work was the answer. If you were a working actor in New York and getting paid, then that allowed you to call yourself an actor.

Q: Was there a job you loved or hated most during those first years?

A: I can’t remember any of them that I really didn’t like. The one that was another big turn was a Sam Shepard play called “Fool for Love” that I did off-Broadway for about 110 performances.

Q: What was your first impression of the David Addison Jr. character in “Moonlighting”?

A: That part in “Moonlighting” just came out of nowhere. I had gone out to California after I finished “Fool for Love” to take a vacation and check out the Olympics in 1984. I ended up not having any time to check out the Olympics because I had gotten a call from an agent about auditions. One of them was “Moonlighting.” I had a typical New York theater actor’s disapproval of television. I hadn’t watched television for about 12 years at that point. But the script that Glenn Caron wrote, I thought, “I know this guy. I know how he talks.” Unfortunately, I didn’t look the part of an ABC leading man at the time. It took a while for ABC to accept me. But it was another big turn.

Q: How did it improve your acting?

A: Comedy is a test by fire. Comedy in a weekly two-character series is a huge test. You’re either funny or you’re not. If we hadn’t been funny, the show would have gone off the air quickly. We had great writing. Glenn wrote just about all the episodes the first year. Cybill (Shepherd) and I just clicked. More than anything, we tapped into a sort of screwball comedy that went back to Howard Hawks and Cary Grant and Katharine Hepburn. We just talked as fast as we possibly could and said funny things. It was like a big toy, having a show where the guy who created (it) would say, “Yeah, do that. That’s funny,” and making it all up as we went along. The first 2 1/2 years were a thrill.

Q: Did the fun end?

A: As with a lot of television, it just becomes cyclical. It’s hard to avoid repeating yourself. It’s hard to avoid telling the same joke in the fourth year that you already told in the first year. Our audience was pretty faithful, and they started to notice it. The network started to notice it, and the wear and tear on Cybill and me was something I had never experienced. Just mental exhaustion. Everybody knows what physical exhaustion is. You work out, your muscles get tired, you go to bed early. Mental exhaustion is a lot trickier. You don’t know where the falling-down point comes. There were days where we worked 17 hours. In that 17th hour, you’d have to be on and funny and still deliver. Not a lot of time off. From the first year on, we worked nine months, and on my hiatus I would work on a film.

Q: When did it feel as if the work paid off?

A: When the first “Die Hard” came out I was starting to hear people say, “Wow. Congratulations. You’ve crossed over.” I didn’t know what that meant at the time or how difficult it was to take that step from television to feature films.

Q: What role did you feel the least confident in taking on?

A: I was always trying to push myself to try new things. When I started doing supporting roles in other people’s films, my agent was up in arms, saying, “You’re going to hurt your price. You’re going to hurt your box office.” I was just trying to keep myself interested as an actor. Taking the role of Butch in “Pulp Fiction” was certainly challenging. Everybody brought their A game to that. You had to show up with yours. I played a small role in a movie called “Mortal Thoughts” that (ex-wife) Demi Moore produced. I had a ball doing that. Prior to “Pulp Fiction,” I used to say that was my favorite film. It didn’t get seen a lot because it got caught in a studio regime change. But it’s still out there.

Q: What’s the worst advice you’ve ever received?

A: I don’t pay much attention to advice. It’s worth about as much as it costs. I try not to give it. And I try not to take anybody else’s too seriously. I have to take responsibility for everything that happens in my life, good and bad. So advice is like cowboy hats.