A Quote by Mark Pellegrino
I think L.A. actors don't have much continuity, so you kind of have to force the issue by doing plays and putting up scenes and staying in class.
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Imagine Americans who go to Paris. Why would you want to go where someone's going to disparage you? Why would you go anywhere where they treat you bad? Well, that's how it is for us to go to Mexico. You have to be on your guard, because I think the Mexicans are harder on the Mexicans, the Mexican-Americans. They don't see us as Mexican. I think part of it's a class issue and a color issue. We're more connected to their servants, so what are we doing staying at a nice hotel? There's a kind of shame.
I was always kind of a loudmouth and a class clown, and that kind of led to doing all the school plays and trying out all kinds of different stuff.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
I think that, often, actors represent what they're not. You get people who define the aristocracy who are not aristocratic - they're lower-middle class or working class. An awful lot of your so-called angry young actors have grown up in extreme bourgeois comfort. It really is surprisingly common.
For me, staying ready has always been, like, the preparations: do the behind-the-scenes or do what you think that's not sexy that nobody will see, but when they do see it, it's like, 'Oh, snap... what she's doing on her own, we'll add to that, and it'll blow up.'
Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.
I grew up kind of in the country, in western Georgia. And then I moved a lot closer to Atlanta, and I started doing plays, and when I started doing film, I think I really started to love it.
I get mad when I'm upset, so to prevent myself from doing anything stupid, I force myself to sleep on whatever issue I'm upset about. Almost always, when I've woken up, I feel much better.
She [Virginia Madsen] and I had a really long relationship after that movie ['Class'] I love her, and I can imagine it was not much fun to do that big sequence with a bunch of laughing, ogling frat-boy actors. I mean, can you imagine putting up with me, [John] Cusack, Alan Ruck, and Andrew McCarthy at 18?
I like flawed characters very much. A lot of times I get asked to do parts that are kind of small but key - three-scene roles that are three kick-ass scenes. Growing up, watching as many movies as I did, I was always into character actors like that.
Since I'm doing so much science, I think the reason these ideas have occurred to me and not to other people in music is simply the influence that science plays in my life: working in laboratories, thinking of models, hypothesis, putting things together, trying to make sense of it all and so forth.
With TV-writing, you write scenes and those scenes pretty much stay as they are when you come to filming them. Sometimes you might change things on the day because of the location or the actors' availability issues.
If you're a playwright, unless you're really lacking in get-up-and-go, you can always get your play up somewhere. You can't necessarily make a living doing it, but theater is about meeting an audience. Plays are not easier to write necessarily, they take less time to write. If you get them up, it's a much more rough-and-tumble kind of existence. I think it's, from my perspective, easier than novel writing.
Romantic scenes are a part of Bollywood cinema, and if the script demands some kind of intimacy, I have no issues with my daughter doing those scenes.
In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.
Actors can be very precious about their work and their scenes, but I think good actors have a strong understanding of narrative and are very often not as precious about that stuff. They just can't be because they understand what makes for a better film, and that it's the job of the actor to work toward that, and then if you want you can go to acting class or workshops. But making movies is not workshops.
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