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American Flag Anti Asian Racism AAPI Support Stop Asian Hate Shirt! Growing up in the shadow of the Happiest Place on Earth turned out to be a precursor to Butler's early career. After tagging a relative to a commercial audition at age 12 and booking a spot, the bright-eyed performer worked steadily for the next decade on Disney, Nickelodeon, and CW shows, where his good looks and sweet personality often make him a one-way boyfriend. Butler said: “I felt very embarrassed about some of the work but I had to cut my teeth somewhere. “So I decided to treat each of these jobs as a way to grow.” Eventually, however, a sense of stagnation set in, and Butler contemplated giving up acting altogether. Having worked half his life in front of the camera, he thought he might as well try stepping to the other side of it, buying the “best camera” he could afford. But a week later, he received a surprise call from his agent about Eugene O'Neill's The Iceman Cometh revival on Broadway with Denzel Washington. Butler, who takes a craftsman's approach to his craft, spent days with his acting coach, Larry Moss, poring over the audition tape for his first "short film" shot with a new camera and easily won the 18-year-old Don Parritt. At the same time.
Butler also began quietly rebuilding his resume with supporting roles in films by some of America's most famous actors such as Jim Jarmusch and Quentin Tarantino. In Tarantino's Once Upon a Time… in Hollywood, Butler, looking simultaneously hungry and full of malice, is almost unrecognizable as Tex Watson, the real-life Manson Family killer. American Flag Anti Asian Racism AAPI Support Stop Asian Hate Shirt! There's a scene in the third act opposite Brad Pitt, who plays aging stuntman Cliff Booth on a trip to the point where he can't tell if Watson is real, which Butler brings up. one of the most memorable lines in the movie: "I'm like a donut, you bastard." Real is an apt word for Butler, who exudes the vulnerability for which Dean is celebrated. He appeared in just one other stage play before The Iceman Cometh and was expected, as he put it, to be "torn in New York". But The New Yorker's critic Hilton Als singled out his performance in the 2018 revival, and he alone, to praise. “He wants O’Neill to do the right thing,” Als wrote of Butler, “his director and his other players. And, no matter how boastful they are around them, he stands his ground, reacting to what may be pure in them, as performers, with purity. his own line of work, that of a potentially great artist. ”
