Interview with Antonio Rullez

Although I grew up singing, acting and dancing, my first time acting in both theatre and film was in 2009. I played one of the lead roles in the Christian short film, “Nobody Notices Me”, directed by John Joo For Lee, a world-renowned artist, playwright and director, whom I was blessed enough to have met that year and who has become a wonderful mentor and friend. Along with a small group of young actors, I took part in a series of intensive acting workshops/training for much of that year with John Joo For Lee and near the end of 2009, I played the lead role of St Francis in the full workshop for the COG community theatre musical, “Man of Assisi”, a musical for which in its 2013 full theatre production, I would also play the lead role of St Francis, as well as co-direct the production and compose most of its music.

Check out the video for my pop/latin release MI CASA https://t.co/PlZiWuAADz 🙂 #NewRelease #poplatin #newmusic #antoniorullez

— Antonio Rullez (@AntonioRullez) October 14, 2015

Did you study acting
I studied acting with the experienced and inspiring actor/director John Joo For Lee in 2009 and beyond. Moreover, I have undertaken extensive studies in acting at both a theoretical and practical level at La Trobe University in Melbourne, Australia as part of my Bachelor of Arts (Theatre/Drama major).

What acting technique do you use
Over the years, I have acted using a number of different techniques but more recently, I have essentially used, in combination with what I’ve been taught by John Lee, one or a combination of the following techniques or methods: Konstantin Stanislavski’s system, which involves using emotions from one or more personal experiences or ones to which I can relate in order to portray these emotions outwardly, and using associated physical actions to display these emotions; Vsevolod Meyerhold’s method, which requires using physical actions to create emotions or reactions both internally and in turn, again outwardly; and the techniques of Tadashi Suzuki, which I became particularly familiar with earlier this year, which necessitate a focus on the body’s core or “centre” and on the position of the feet, and concomitantly, employing a great deal of focus, intensity and precision.

What wrong impressions do actors hold about acting
It is believed by some that acting is not something that requires a great deal of focus, technique or practice. Indeed, acting and any form of performances requires all of these aspects to varying degrees and a great deal of hard work and commitment both in the short- and long-term.

Do you take courses to improve your craft
I do study acting as part of my university degree as well as, at times, speaking and training with other actors. I sometimes also take part in or run acting, singing and/or theatre workshops. I find that I learn so much both in participating in the workshops and in teaching and assisting others in relation to acting, theatre and performing.

What acting books do you read
I have read and do read a number of books related to acting and drama, including those about the staging and performing of Shakespearian theatre and books by John Joo For Lee, such as “Confucius Sings”.

How do you keep fit as an actor
I try to exercise regularly (including running, dancing and weights, at times) and I often find stretching very helpful, both because I love to dance and also for general bodily mobility and balance. In addition, I take some time when I can to read, watch movies or television and see live theatre. I find that watching shows that I particularly like, as well as programs that I haven’t seen before, sometimes in other languages (such as French or Italian) is helpful for the purposes of knowledge and can also be relaxing. I try to eat and sleep well as often as I can and also take suitable vitamins and superfoods.

When you’re offered a role, what do you do next
I usually read the entire script initially, at least once and sometimes more, depending on the amount of time I would have before rehearsals would commence. Aside from the factor of time, I work a lot with inspiration and feel, such that if on a particular day, I have a strong desire to learn lines, even if it is sometimes many of them, I will go with that as much as possible and then go over those particular lines, with or without script, in subsequent days. I then proceed to familiarise myself with any other lines and aspects of my role.

How do you take a character in a script to a honest, believable and breathing person
I often try to imagine what the character would be like (or is or was like, in the case of a true story) in real life. Furthermore, I usually try to relate one or more of the character’s experiences to something that I’ve experienced or to an experience that I personally know of or to which I can relate through the news or media. At a certain point, I then start practicing speaking and gesturing like that character and integrating particular expressions and viewpoints into my acting for the purposes of the role.

How do you stay fresh on set
I do a number of things to stay fresh on a production set including, at times, relaxing, and meditating or praying, and then on other occasions, I may jump around, stretch, dance and I can be a bit of a joker as well, sometimes using break times to imitate some famous actors I admire.

Describe a memorable character you played
A memorable character I have played was that of St Francis in the COG community theatre production of “Man of Assisi” (September 2013). I read, reflected and prayed extensively in order to try to attain as much as possible a true and accurate understanding of this great and tremendously humble saint. It was a role that required a great deal of internal reflection, as well as physical practice. I immensely enjoyed playing the role and had a wonderful time rehearsing and performing with the truly splendid cast and felt, even after the performances, that there was still so much to explore in respect of this character.

Explain one creative choice you took on set
When playing the lead role of Agent Ferrara in the La Trobe University short film, “Single Woman Seeks Good Robot” (2011), although the guidance and assistance given by the wonderful, young director, Michael Liparota was very precise, it was in imagining certain secret or federal agents that I’d previously seen in particular movies, that provided the further impetus which ultimately coloured the strength and dynamic of the film’s final scene – watch

What do you want most from a director
As has been essentially the case with all the directors that I’ve worked with so far, I find it very helpful when a director gives both specific and broad direction and guidance in relation to the character and production overall, but also allows some scope for creative agency and input.

What actors do you long to work with
I would love to work with Matt Damon.

Why
His abilities and focus as an actor, as has been demonstrated in his many compelling performances over the years, are phenomenal. I would love to know a bit more about his “process” as an actor, and what inspires him when acting particular roles and in life overall.

What advice would you give to actors
That being an actor and performer requires hard work, repetition, persistence, commitment and a positive attitude, but also staying as “centred” and true to yourself as possible. It is also important to take some time out when you can to re-focus both performance-wise and in life, to read, play, watch and meditate, so as to enjoy and “breathe in” life and along with that, the rehearsal and performance process of being an artist, as much as possible.

Briefly write about your career
I have been an actor, recording artist, songwriter and dancer for over a decade. I have performed as a singer, dancer and actor in a variety of different settings such as concerts, clubs, theatre, film, festivals, corporate and private functions, both locally and abroad and on television, including numerous performances on Channel 31 (local television in Melbourne, Australia). I was a top 12 finalist in the LightFM 89.9 “Mindies” Competition 2010 (Melbourne), in which I sang and acted on air. I have been dancing and playing the piano since the age of 4 years and dance in styles of jazz, hip-hop, tap, salsa and ballet. I recently released, through an emerging, independent Australian record label, Strawberry Hills Records, two of my original songs, “Mi Casa” (co-write), for which I acted in and wrote the screenplay for the music video, and my new single, “Come and Fly This Mountain”. Moreover, I have tremendously enjoyed performing, rehearsing and training in theatre and film. The various characters I have played over the years have greatly enriched my understanding and abilities as a performer and in my personal and social life.