Interview with Nick Pellegrini
Nick Pellegrini was born in Parma, Italy and from the earliest times of the elementary he showed interest in art related activities and always took part of school plays.
The passion for theater and film bursted in high school where he was an active member in the theater class and in the last two years he joined the theater lab. where he proficently took part in many plays supported by the school, redescovering the theater classic masterpieces like: Hamlet (Shakespeare), Peer Gynt (Ibsen), Sei Personaggi In Cerca D’Autore (Pirandello).
Nick has always been interested in all the aspects of things he has a passion for, he cultivates the passion for music and studied guitar for eleven years. Leading two hard rock bands in Parma and playing live at any give occasion, his inclination for music served him also to play the live soundtracks of other school theatrical projects.
He wanted to widen his knowledge of vocal expressiveness and took part of an exclusive class of voiceover at TeleCineAudio. Classes were taught by Mario Lori and Mario Maldesi a renowned director of dubbing that worked with major foreign directors (Kubrik, Lucas, Polanski…) and italian (Fellini, Pasolini) pictures. This experience reinforced Nick’s passion towards the Film Industry.
After graduating from high school Nick joins a theater company in Parma that performs at Teatro al Parco, he was the lead of The Imaginary Invalid (Moliere), a show that played for a season.
One year later Nick flies to Los Angeles decided to work as hard as possible to realize his dream of becoming a professional actor.
After a positive response to the audition at The Lee Strasberg Institute, one of the most respected acting schools in the world, Nick knew he was on the right track to succed.
Nick studied proficiently and lived for theater getting casted in many school’s play productions. He was invited to join a masterclass taught by David Lee Strasberg, Alfred Molina and Annette Benning were also involved. To better his craft Nick attended an accent reduction class taught by Claire Corff who worked with Kate Blanchett, Jodi Foster, Elijah Wood and many others and a film fighting class taught by Benny “The Jet” Urquidez (trained J.C. Van Damme, John Cusack). Being at The Strasberg Institute was a dream, all the acting teachers like Anne DeSalvo, Hedy Sontag, Sally Kirkland… are all professional actors that are part of the Actor’s Studio.
After more than two years at The Strasberg Inst. Nick discovered his love for film making, that’s why he moved to Theater Of Arts, a very solid acting / film making school, founded in 1927 making it one of the oldest in Los Angeles.
New classes like sketch comedy and acting on camera and a new approach to acting broaden Nick’s concept of acting.
In the first semester of script writing he wrote a short called The Interrogation. The script became so popular in the school that even the teachers wanted to star in it.
Nick wrote many other shorts stories and two features, produced directed and edited The Interrogation and currently working on forcoming productions.
After much research Nick found a solid and upcoming agency (Almond Talent) which he signed with. He is also working intensivly with his experienced manager John Bryan.
Hi Nick, it is a pleasure to meet you. Can you tell us a little about yourself and your background?
I’m Nick Pellegrini, I was born in Parma, Italy. Since an early age I started developing the passion for music and theater, and after playing in several local bands and performing in many local theaters I decided to move to Los Angeles. I’ve always wanted to refine my craft and be able to work side to side with those people that inspired me so much.
What got you interested in film and how long have you been involved with the medium?
It all started during early high school when I decided to join an experimental theater class. I was thrilled to be able to perform ancient greek myths. I discovered how powerful theater can be once the curtain is lifted. The people are watching in the dark, with baited breath and enjoying every single moment of the story! I fell in love with it and after a couple of years of theater I started getting involved in film projects.
Tell is about some of the things and people who influence you.
My biggest influence are those that I used to admire when I first laid eyes on the screen, Gianmaria Volonte’, Marcello Mastroianni but also Gary Oldman and Marlon Brando. I was very captured by the natuarl ease that Marlon would show in every performance, he always made it look so effortless.
If you could choose a director to work with, who would it be?
I’ve always been a Spielberg fan and I’d love to be part of productions where the filmmaker has the freedom to fully communicate his or her vision. I think in those moments there’s a great deal of pure creation and I’d love to be part of the cast of such movies.
How important so you feel training and education is to an actor or filmmaker?
I think it’s very important to start off with solid bases. I was very lucky to be accepted in few of the best acting schools of the United States. I learned how important it is to always show up on time and do the homework. It gave me the right mindset to better understand the professional side. It was vital to me to also acquire the set of tools and techniques that I use regularly on set and on stage, thanks to those I wouldn’t be able to fully express myself.
Do you think learning the business side of the industry is important?
The business aspect has always scared me a bit. I often like to explore the craft and enjoy trying different things in the rehearsing process, that is always fun for me. Through the years though, I bettered myself and learned how to move in the business world. My advise for the young actors is to do as much research as possible and to always pay attention to every detail hat a business relationship or deal would carry!
What is it about yourself you think sets you apart from the rest?
In regards to theater I always like to create a connection with the public. It’s important to be able to empathize along with them and it makes it easier for them to enjoy the show. My works on Shakespeare are always a pleasure to remember. On film I like to explore all the small subtleties that would get be hard to decipher on a theater set. I always have fun with my characters and enjoy building them really thoroughly. Small adjustments are what make my characters unique, and I hope, fun to watch.
What do you think are your greatest accomplishments? Any regrets?
I’m very proud off all the projects I’ve been part of. A Dirty Job was extremely rewarding to develop, I had the luck of working with great people that became friends afterwards. This industry can be very stressful at times but also very satisfying. I regret the time where I worked on three projects at once and I didn’t have time to focus an flesh out the stories as much as I wanted to.
Tell us a little about your latest project, the short film, “A Dirty Job”. What is it about?
A Dirty Job takes us on a 10-minute trip to hell and back — sweeping from creepy, dark alleys in Burbank to busy Hollywood restaurants, buslting office buildings and finally to the majestic desert plains of Inyo county. Co-Produced by writer-producer John Ortí of [indelible, inc.], A DIRTY JOB was shot using a 24-frame, HD “film-look” process developed by writer-DP Lance Johnson and features a cast of both established stage and film actors (Jeff Murray, Al Burke) and two of THE funniest, most natural newcomers we may see all year (Mario Hernandez and Irner Gomez)
After a brutal run-in with a drunk thug, Mike is run down by a motorcycle cop and promptly arrested. Mike’s attorney springs him out of jail but, with his work-visa revoked and his name all over the papers, Mike is forced to con his way into a new gig at a taco shop. But with a big-mouthed boss ordering him around the kitchen, it ain’t long before Mike’s hot temper lands him in even hotter water than before! Check out the trailer below:
Anything you would like to say to our readers?
I’d like to talk briefly about how important improvisation has been for me. I think it’s very underestimated and taken too lightly. It’s vital for the actor to study various methods of acting and to always refer back to them but it’s also important to forget about rigid structures and be able to let go. Improv can bring out hidden sides of the character. It takes bravery but I’m always impressed after a session.
Where can we find out more about you?
and you can see more about “A Dirty Job” at: