Jonathan Tucker Biography
Jonathan Tucker born as Jonathan Moss Tucker is an American actor best known for his roles in the films The Virgin Suicides in 1999, The Texas Chainsaw Massacre in 2003, Hostage in 2005, In the Valley of Elah in 2007, and The Ruins in 2008, Snowfall in 2018, and Westworld in 2018.
He made his film debut in the early 1990s films Botte di Natale in 1994, Two If by Sea in 1996 and Sleepers in 1996 and in the 1999 film The Virgin Suicides as Tim Weiner.
Jonathan Tucker Age
Tucker was born on 31 May 1982 in Boston, Massachusetts, United States. He will be turning 37 on 31 May 2019
Jonathan Tucker Family
His father Paul Hayes Tucker, is a professor of art at the University of Massachusetts Boston and a leading expert on Claude Monet while his mother Maggie Moss, is a public relations and marketing analyst and executive. His paternal great-grandfather was a historian and ambassador Carlton J. H. Hayes. His aunt and uncle, Mary Evelyn Tucker and John Grim, are the founders of the Forum on Religion and Ecology at Yale University, where they remain as co-directors.
Jonathan Tucker Education
He studied at The Park School in Brookline, Massachusetts. When he was in the third grade, he joined the Boston Ballet and played Fritz in their production of The Nutcracker for 5 years, and was featured in a Boston Ballet calendar and attended The Thacher School in Ojai, California.
Jonathan Tucker Wife
He is a married man. He is married to Tara Tucker, the daughter of Pulitzer Prize-winning economic historian Liaquat Ahamed. The couple married on June 16, 2012
Jonathan Tucker Sleepers
Tucker was cast as Young Tommy in the 1996 American legal crime drama film “Sleepers”
Jonathan Tucker Parenthood
He was cast in the role of Mayor Bob Little from 2011 to 2014 in the TV series Parenthood.
Jonathan Tucker Kingdom
Tucker was cast as Jay Kulina, Alvey and Christina’s older son and the elder brother of Nate in American drama television series “Kingdom.” He was seen as the screw up in the family by Alvey. Starts fighting again when Lisa begins to manage him. Jay is the loudmouth, obnoxious Kulina brother.
Jonathan Tucker Justified
Tucker was cast as Boon, one of Markham’s men who takes a particular interest in Loretta in the season 6 of the American crime drama television series “Justified”
Jonathan Tucker Hannibal
He portrays Matthew Brown, a serial killer who admires Will Graham and emulates “his” murders on a colleague, in season two of the American psychological horror–thriller television series “Hannibal.”
Jonathan Tucker Net Worth
His Salary, Cars, and Houses totals up to a net worth of around 1.5 million Dollar as of 2019
Jonathan Tucker Interview
Interview: Jonathan Tucker – An Actor At The Top Of His Game
At the top of his game, Jonathan Tucker talks about his work on TV and the career arc he’s on with David Phillips.
In recent years, Jonathan Tucker has been doing consistently excellent work on television. His roles on Justified, Kingdom, American Gods, and now Westworld, find the actor at the top of his game. In full Bel Canto.
Tucker discusses his recent work with us, as well as the arc of his career. Past, present, and future. His love of storytelling, his craft, and depicting those on the margins of society.
At the age of just 36, Tucker already has nearly a quarter-century in the business. His resume will soon include Showtime’s City On A Hill. A Boston based crime drama produced by Ben Affleck, co-starring Kevin Bacon and Aldis Hodge, due to debut next year.
Let’s go ahead and jump into Westworld. What drew you to the show?
As I’m sure you can imagine, I was a big fan of the first season. I sat on a panel at ATX, an Austin television festival. Which is a really great festival. For people into television, I think it’s the best event of the year. They were doing westerns and tropes, and I was on a panel with (Justified producer) Graham Yost.
I met Jonah (Jonathan Nolan), and Lisa (Joy) there. Lisa had written on Pushing Daisies with Bryan Fuller, who has been a really important person and collaborator in my life and professional career. One of the great privileges of working for a long time is these circles do get small. Lisa had seen me on American Gods and thought there might be a place for me on the second season of Westworld.
You mentioned Bryan Fuller. I remember you doing a couple of episodes of Hannibal for him.
Yes, I’d made a pilot with Bryan many years ago that didn’t move forward, but we really connected, and I ended up doing Hannibal where he really gave me a runway to take off. Then we did American Gods together. He remains a very close friend of mind. I’m having dinner with him tonight. What I like about the way Brian works, and the same can be said of Lisa and Jonah, they do a lot of research on you.
Looking at your audition, previous work, and having long conversations with you. So, ultimately, when you are hired, they trust you to do your job. They cede a lot of control to you. It’s a sign of people who are comfortable in their own talent and choices. They don’t need to impress their ego upon the entirety of a project.
As showrunners, they are excited to let all the different components shine. People like Bryan, Lisa, and Jonah, (Kingdom producer) Byron Balasco, who ask you to come into our world and we will support you while you play, and it may not be the play we originally anticipated.
Major Craddock in Westworld has a significant arc. In playing a non-woke host across from woke hosts and human beings who understand what Westworld is, how did that affect your approach to playing him?
One of the fun things to explore was the idea of taking in new information as artificial intelligence, recognizing it was new, and then carrying that forward as fresh DNA. The character is in a constant state of discovery. What does that taste like? What does that feel like? That was unique to me as an actor.
One thing I’ve noticed in your recent career is a willingness to go into dark places. Whether it’s Boon on Justified, Jay Kulina on Kingdom, or Major Craddock. Did you fall into that, or is it something you are drawn to?
Real life can be big, and there’s something enjoyable about letting the bigness of life into the character. It’s liberating and exciting to be able to play these characters with all these eccentricities. I was scared of some of those characters early on in my career. It’s not easy to go big, because you set yourself up for criticism. But there’s so many big lives out there and so many interesting characters who have story’s that deserve to be told. It can be incredibly compelling, and it’s critical, I think, that actors don’t shy away from that.
And yet, none of those characters I’ve just mentioned are the same.
I’m drawn to dangerous characters. I like characters that you don’t know what they are going to do next. Life is so unpredictable in every respect. “Man plans and God laughs” is one of my favorite quotes. Nothing ever goes exactly to plan on set or in life. But if you put all the work into your character before you arrive on set, you can be ready for that unpredictability and just roll with it. If you can settle into that instability and chaos with the character, it is so enjoyable. You open yourself up to surprise, and I love that.
Do you have any immediate reflections on Westworld and Major Craddock?
It was a real privilege because you rarely get the opportunity to work on the storytelling of that scope and scale. All of a sudden you’re on a set with a two-story rampart Mexican fort like something out of the 1860s and this whole world is built for you to play in. I have dedicated my life to storytelling. I’ll die on set, and when you get to be on a set and every department is at the top of their craft, and they are afforded all the tools that they could possibly want to fulfill the vision, it’s almost once in a lifetime if you will. The storytelling on Westworld matches the assets afforded it.
On your next project, City On A Hill, in reading about the show, Irish-American crime drama, it made me think of a show you made many years ago, The Black Donnellys. Do you feel any connections between the two pieces?
Completely. In so many surprising ways. We even had the same assistant director on the first day of City On A Hill that we had on Black Donnellys. I felt some of the same patterns, looks, and feelings coming back to me that I had on Donnellys. I definitely found a kinship between the two shows and my characters in both. Tommy Donnelly was trying to hold his family together. Deal with his wayward, drug-addicted brother, and he’s carrying all this weight. Trying to hold this family together. Balancing sin and the reality of having to do bad things to take care of your family. I’ll be looking forward to a similar opportunity when we start filming the series this fall.
Can you tell us more about your character in and how he fits into City?
Sure. The show is about a newfound relationship between and entrenched FBI agent towards the end of his career, and this young African-American district attorney from outside of town, played by Kevin Bacon and Aldis Hodge. They form this unlikely partnership trying to change the law enforcement system in Boston. They run into my character, who is from Charlestown, Massachusetts, and my bank robbing squad who have recently committed a murder in the process of a robbery. That will play out over the course of 12 episodes.
I know Ben Affleck is one of the producers, and in reading about the show and going by your description, there seems to be a surface similarity to The Town. In what ways does City On A Hill diverge from that basic concept?
The similarity is the focus on law enforcement, the Boston political scene, and bank robbers. After that, they are really quite different stories. One of the exciting opportunities working in television today is you can go so much further and find a more enriching experience as an actor and as an audience member when you have the time to draw and tease out these stories. We just get to go much deeper here.
Do you find that cable television, due to having shorter seasons than network shows, which allows a better maintenance of quality, while also allowing you to do all the thing you can do in movies, that maybe television is actually better than movies, and that stigma of being a TV actor vs. a movie actor has been removed almost entirely?
On an aggregate, I don’t think there’s a question. And the distribution is so much better. You look at the best-case scenario for an independent film, you go to one of the four festivals, you get a really great response. As an actor, you do all the interviews, and you feel all this heat and buzz, but a lot of those movies barely get released.
Of course, there are still things that really pop here and there, but it’s harder and harder to find an audience for a small film even when the project is wonderful. At least on television, even in a small-scale viewership scenario like Kingdom, at least a few hundred thousand people are watching each week. That type of audience doesn’t happen in an independent film on a regular basis.