"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"
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Pullman’s line is the sound of an actor trying to wrestle back authorship from the genre machine. While You Were Sleeping didn’t just “work”; it landed with that rare, frictionless charm audiences label a “Cinderella story” precisely because it feels like fate instead of strategy. Calling it that is affectionate, but it’s also a warning: when a project becomes a career-defining fairy tale, Hollywood’s impulse is to trap you inside the glass slipper and sell the sequel version of your own persona.
The intent here is blunt self-preservation. Pullman isn’t dismissing romantic comedy so much as resisting the industry’s habit of turning a single hit into a permanent assignment. The subtext is about typecasting, yes, but also about masculinity on screen in the mid-90s: he played the decent, slightly rumpled alternative to the slick romantic lead, a vibe that could easily calcify into “nice guy” roles on repeat. Wanting “the opposite” reads like a bid for range and edge, an attempt to reclaim unpredictability before the audience’s affection becomes a box.
There’s also a quiet acknowledgment of power dynamics. When a film is that beloved, the actor’s choices start getting framed as obligations to the brand of comfort the public thinks they provide. Pullman’s pushback is a small act of cultural rebellion: refusing to be preserved in amber as rom-com collateral, insisting that the same face can carry different weather.
The intent here is blunt self-preservation. Pullman isn’t dismissing romantic comedy so much as resisting the industry’s habit of turning a single hit into a permanent assignment. The subtext is about typecasting, yes, but also about masculinity on screen in the mid-90s: he played the decent, slightly rumpled alternative to the slick romantic lead, a vibe that could easily calcify into “nice guy” roles on repeat. Wanting “the opposite” reads like a bid for range and edge, an attempt to reclaim unpredictability before the audience’s affection becomes a box.
There’s also a quiet acknowledgment of power dynamics. When a film is that beloved, the actor’s choices start getting framed as obligations to the brand of comfort the public thinks they provide. Pullman’s pushback is a small act of cultural rebellion: refusing to be preserved in amber as rom-com collateral, insisting that the same face can carry different weather.
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