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I’m a total weirdo，” Jena Malone confesses.
It’s been a pretty mental year for the selfdescribed weirdo. She shot six films， toured her second album， held her first solo photography show in L.A.， and turned 30. In recent months， she’s been seen sporting a fiery red hairdo， reportedly for her upcoming role in Batman v. Superman： Dawn of Justice as Carrie Kelly， the female Robin from Frank Miller’s noncanonical graphic novel The Dark Knight Returns. And that’s in addition to her axewielding badass Johanna Mason in The Hunger Games： Mockingjay Part 1 and its sequel due out next year， as well as her scenestealing turn as a reformed junkie in Paul Thomas Anderson’s gonzo neo-noir Inherent Vice.
Malone first met Anderson by chance over a decade ago following the release of the cult hit Donnie Darko. She was just 17， and they ran into each other at The Apple Pan， an iconic‘50s-era burger joint in L.A.
“To be honest， I didn’t even recognize him，” Malone recalls. “He was bearded， and I was so young. We talked about movies and had this great conversation， and at the end he was like， ‘It was nice to meet you…I’m Paul.’ And I thought， Wait…is that Paul Thomas Anderson？ I had a big fan girl moment， and thought I’d never see him again.”
Then， last year， she received a call from Anderson： “Hey， do you remember when we met over ten years ago？” He cast her as Hope， an ex-addict with an impressive pair of fake chompers—the result of years of drug abuse. According to Malone， Hope’s character serves as a metaphor for 1970s， a former junkie starting anew with new teeth， a new haircut， and a family. “It’s like the death of this dream of free love，”says Malone.
It’s almost a full-circle moment for Malone， this role of an ex-flower child in a PTA film. Her very first performance onstage came at the age of 4， when she cameoed as a dancing flower in the musical Bye Bye Birdie.
Her mother had a musical theater background， so Malone grew up backstage， watching productions come to fruition. But that was probably the least unique thing about her childhood.
Malone’s father， who dealt cards at a casino in Reno， was married to another woman when he impregnated her mother. She didn’t have much of a relationship with him until they reconnected when she was a teenager. So， Malone was raised by her mother and her girlfriend.
“They were lovers，” says Malone.“I had two moms， and it was awesome. Double the pleasure！ The more love you have as a child， the better.” Because they were short on money， the family moved around a bunch—with Malone living in 27 different places by the time she was 9.
“We were just so poor，” she recalls.“We’d hop out of apartments， lose jobs， find a cheaper place， get kicked out， live in cars， and live in hotels. It was glorious.”
She adds， “I don’t think it was a tough childhood. I actually found it quite pleasurable， and it prepared me for this strange， gypsy lifestyle of an actor. It’s a beautiful thing to give children diversity of where to live and how to live； it makes you believe that security is built within instead of four concrete walls that you call a home. It was a unique way to grow up， and to see life in a different way.”
But throughout all this， Malone describes herself as “oddly responsible，” wanting to help her moms pay the bills as young as 10. And it was at that age that she booked her very first audition ever—a UCLA film student’s senior thesis short called Sunday’s Child， which paid her a small sum. The 10-year-old looked her mother dead in the eye and said， “I’ve got a job， so let’s give it a year and see what happens.”
The following year， at age 11， she landed the role of Bone Boatwright in Anjelica Huston’s Bastard Out of Carolina. It was a very trying part that forced her to inflect a Southern accent， while playing a character who suffers terrible physical and sexual abuse at the hands of her on-screen stepfather， played by Ron Eldard. But Malone’s courageous turn would put her on the map， earning a 1996 Independent Spirit Award nod for Best Debut Performance， as well as a SAG nomination.
Another dazzling turn as Susan Sarandon’s rebellious daughter in Stepmom followed， and in January 2000， at just 15 years old， Malone became legally emancipated. “I wanted to be an adult， and I felt I’d already been an adult for a very long time.”
Though her early characters were a bit more passive， e.g. as Jake Gyllenhaal’s love interest in Donnie Darko or a besieged knocked up teen at a Christian high school in Saved！ Malone’s recently morphed into a silver screen ass-kicker with her Hunger Games character of Johanna and， if the rumors are true， Robin （she says her lips are sealed）. “It’s not a place that I naturally live in，” Malone says. “I’m much more klutzy， softspoken， and responsible.”
Indeed， Malone seems to be in a very good place， both personally and professionally. She’s drowning in projects， with six films scheduled to hit cinemas in 2015， and has been reportedly dating a fella for the past year. “It’s a really inspiring time， so it always makes me thankful to think of how I was raised， the things I was given， and the lessons I was taught， because it all becomes who you are，” she says. “It’s been an incredible journey， and I feel very blessed.”
我简直就是一个怪人，”吉娜·马隆坦诚道。
对于这位自称“怪人”的演员来说，今年是疯狂的一年。她拍摄了六部电影，为第二张专辑巡演，在洛杉矶举行了首个个人摄影展，还有，踏入而立之年。最近几个月，她把头发染红了，据说是为了她接下来在《蝙蝠侠大战超人之正义黎明》里面的角色：卡莉·凯利—弗兰克·米勒不在经典之列的画图小说《黑暗骑士归来》里面的女罗宾。这是《饥饿游戏之嘲笑鸟Ⅰ》中使用斧头的狠角色乔安娜·曼森之外又一个坏孩子角色，《嘲笑鸟》续集会在明年推出，此外，马隆还会出演另一个抢镜角色——在由保罗·托马斯·安德森执导的荒诞新黑色电影《性本恶》里面扮演一名改过自新的瘾君子。
马隆第一次遇见安德森完全是一个意外。十年前，在非主流热门影片《死亡幻觉》上映后，当时十七岁的她在洛杉矶著名的50年代风汉堡包连锁店“苹果平底锅”遇见安德森。
“老实说，我当时甚至都没认出他来，”马隆回忆道，“他当时蓄着胡子，而我又那么小。我们聊了电影，谈话很愉快，最后他说：‘很高兴认识你，我是保罗。’而我当时想，等等，这是保罗·托马斯·安德森？我像个遇到偶像的小女孩一样开心，然后想我不会再遇见他。”
然而，去年，她接到了安德森的电话：“你好，你还记得我们十年前见过面吗？”他邀请她扮演奥佩。奥佩是个曾经沉迷毒品的瘾君子，因为常年滥用药物，镶了两只大门牙。马隆说，奥佩这个角色其实隐喻着上世纪七十年代，曾经的瘾君子重新开始，换了新牙和新的发型，以及重新组建一个新家。“就好像自由恋爱梦想的消亡一般，”马隆说道。
对于马隆来说，这几乎就是一个圆梦时刻，她曾经在安德森的电影里面演绎一朵小花——那时她只有四岁，她的首次舞台表演就是在音乐剧《欢乐今宵》中扮演一朵会跳舞的小花。
她的母亲从事音乐舞台剧工作，所以马隆是在后台长大的，亲眼看到舞台剧的制作过程。但这也许是她童年中最平常不过的事儿。
马隆的父亲在里诺的一家赌场做荷官，在与马隆的母亲风流缱绻之时实为另一女子的丈夫。马隆与父亲一直关系疏离，直到她十几岁时，他们才重新联系。所以说，马隆是由她母亲以及母亲的女朋友带大的。
“她们是情侣，”马隆说道，“我有两个妈妈，非常棒，双重的欢乐！你在小时候得到的爱越多越好。”
因为生活不宽裕，她们搬家频繁——马隆九岁前搬了27次家。
“我们当时很穷，”她回忆道，“我们搬出了公寓，成了失业人員，找租金更便宜的地方，被赶出来后住在车里，后来住在酒店里。多么辉煌的历史。”
她补充道：“我不觉得这样的童年很艰难，我其实觉得挺欢腾的，而且这也为我进入这个奇怪的、居无定所的演员行业打下了基础。让孩子在住所和生活方式上有多种选择是一件美好的事情。这让你明白，安全感来自于内心，而不是称之为家的四堵墙。这样的成长方式很特别，让人对生活有另一番见解。”
尽管童年坎坷，马隆对自己的评价是“出奇地负责任”，十岁的时候就想着要为妈妈付账单。也就是那时候她预约了人生中的第一次试镜——加州大学洛杉矶分校电影学院学生毕业短片《星期天的孩子》，她从中得到了一点报酬。十岁的小女孩紧紧地盯着母亲的眼睛，说道：“我得到了一份工作，我们用一年的时间试试看会怎样。”
在她十一岁那年，她在安杰丽卡·休斯顿执导的电影《卡罗莱纳的私生女》中扮演宝恩·博特赖特一角。这是个不简单的角色，在戏里要用南方口音演绎，还要遭受由罗恩·爱尔达扮演的继父的暴打以及性侵。但是马隆勇敢的转变让她大放异彩，提名1996年独立精神奖最佳新人奖以及美国演员工会奖。
另一个精彩的转折点在接下来的《继母》一片中，她扮演苏珊·萨兰登的叛逆女儿，而在千禧年的一月，刚满十五岁的马隆正式成年。“我想长大，而我感觉自己成为大人好久了。”
尽管她早年的角色有那么点消极，例如在《死亡幻觉》中扮演杰克·吉伦哈尔的爱人，或是《被拯救者》中就读基督教高中的意外怀孕的困惑少女，但是马隆在最近进行银幕转型，摇身一变成为打女，例如在《饥饿游戏》中的乔安娜，还有，如果传言是真的（她说她不会透露任何信息），她要成为女版罗宾。“这样的角色和我本性相差甚远，”马隆说道，“我本人更笨拙、温柔以及负责。”
的确，无论是个人生活还是职业道路，马隆的状况都很不错。她事业繁忙，2015年预计有六部电影上映，据说过去一年还和一个小伙子谈恋爱。
“这段时间我受到不少启发，总让我对自己的童年心存感恩，感谢自己得到的东西、受过的教训，因为这些决定了你会成为怎样的人，”她说，“这是一段不可思议的旅程，我觉得自己很幸运。”
It’s been a pretty mental year for the selfdescribed weirdo. She shot six films， toured her second album， held her first solo photography show in L.A.， and turned 30. In recent months， she’s been seen sporting a fiery red hairdo， reportedly for her upcoming role in Batman v. Superman： Dawn of Justice as Carrie Kelly， the female Robin from Frank Miller’s noncanonical graphic novel The Dark Knight Returns. And that’s in addition to her axewielding badass Johanna Mason in The Hunger Games： Mockingjay Part 1 and its sequel due out next year， as well as her scenestealing turn as a reformed junkie in Paul Thomas Anderson’s gonzo neo-noir Inherent Vice.
Malone first met Anderson by chance over a decade ago following the release of the cult hit Donnie Darko. She was just 17， and they ran into each other at The Apple Pan， an iconic‘50s-era burger joint in L.A.
“To be honest， I didn’t even recognize him，” Malone recalls. “He was bearded， and I was so young. We talked about movies and had this great conversation， and at the end he was like， ‘It was nice to meet you…I’m Paul.’ And I thought， Wait…is that Paul Thomas Anderson？ I had a big fan girl moment， and thought I’d never see him again.”
Then， last year， she received a call from Anderson： “Hey， do you remember when we met over ten years ago？” He cast her as Hope， an ex-addict with an impressive pair of fake chompers—the result of years of drug abuse. According to Malone， Hope’s character serves as a metaphor for 1970s， a former junkie starting anew with new teeth， a new haircut， and a family. “It’s like the death of this dream of free love，”says Malone.
It’s almost a full-circle moment for Malone， this role of an ex-flower child in a PTA film. Her very first performance onstage came at the age of 4， when she cameoed as a dancing flower in the musical Bye Bye Birdie.
Her mother had a musical theater background， so Malone grew up backstage， watching productions come to fruition. But that was probably the least unique thing about her childhood.
Malone’s father， who dealt cards at a casino in Reno， was married to another woman when he impregnated her mother. She didn’t have much of a relationship with him until they reconnected when she was a teenager. So， Malone was raised by her mother and her girlfriend.
“They were lovers，” says Malone.“I had two moms， and it was awesome. Double the pleasure！ The more love you have as a child， the better.” Because they were short on money， the family moved around a bunch—with Malone living in 27 different places by the time she was 9.
“We were just so poor，” she recalls.“We’d hop out of apartments， lose jobs， find a cheaper place， get kicked out， live in cars， and live in hotels. It was glorious.”
She adds， “I don’t think it was a tough childhood. I actually found it quite pleasurable， and it prepared me for this strange， gypsy lifestyle of an actor. It’s a beautiful thing to give children diversity of where to live and how to live； it makes you believe that security is built within instead of four concrete walls that you call a home. It was a unique way to grow up， and to see life in a different way.”
But throughout all this， Malone describes herself as “oddly responsible，” wanting to help her moms pay the bills as young as 10. And it was at that age that she booked her very first audition ever—a UCLA film student’s senior thesis short called Sunday’s Child， which paid her a small sum. The 10-year-old looked her mother dead in the eye and said， “I’ve got a job， so let’s give it a year and see what happens.”
The following year， at age 11， she landed the role of Bone Boatwright in Anjelica Huston’s Bastard Out of Carolina. It was a very trying part that forced her to inflect a Southern accent， while playing a character who suffers terrible physical and sexual abuse at the hands of her on-screen stepfather， played by Ron Eldard. But Malone’s courageous turn would put her on the map， earning a 1996 Independent Spirit Award nod for Best Debut Performance， as well as a SAG nomination.
Another dazzling turn as Susan Sarandon’s rebellious daughter in Stepmom followed， and in January 2000， at just 15 years old， Malone became legally emancipated. “I wanted to be an adult， and I felt I’d already been an adult for a very long time.”
Though her early characters were a bit more passive， e.g. as Jake Gyllenhaal’s love interest in Donnie Darko or a besieged knocked up teen at a Christian high school in Saved！ Malone’s recently morphed into a silver screen ass-kicker with her Hunger Games character of Johanna and， if the rumors are true， Robin （she says her lips are sealed）. “It’s not a place that I naturally live in，” Malone says. “I’m much more klutzy， softspoken， and responsible.”
Indeed， Malone seems to be in a very good place， both personally and professionally. She’s drowning in projects， with six films scheduled to hit cinemas in 2015， and has been reportedly dating a fella for the past year. “It’s a really inspiring time， so it always makes me thankful to think of how I was raised， the things I was given， and the lessons I was taught， because it all becomes who you are，” she says. “It’s been an incredible journey， and I feel very blessed.”
我简直就是一个怪人，”吉娜·马隆坦诚道。
对于这位自称“怪人”的演员来说，今年是疯狂的一年。她拍摄了六部电影，为第二张专辑巡演，在洛杉矶举行了首个个人摄影展，还有，踏入而立之年。最近几个月，她把头发染红了，据说是为了她接下来在《蝙蝠侠大战超人之正义黎明》里面的角色：卡莉·凯利—弗兰克·米勒不在经典之列的画图小说《黑暗骑士归来》里面的女罗宾。这是《饥饿游戏之嘲笑鸟Ⅰ》中使用斧头的狠角色乔安娜·曼森之外又一个坏孩子角色，《嘲笑鸟》续集会在明年推出，此外，马隆还会出演另一个抢镜角色——在由保罗·托马斯·安德森执导的荒诞新黑色电影《性本恶》里面扮演一名改过自新的瘾君子。
马隆第一次遇见安德森完全是一个意外。十年前，在非主流热门影片《死亡幻觉》上映后，当时十七岁的她在洛杉矶著名的50年代风汉堡包连锁店“苹果平底锅”遇见安德森。
“老实说，我当时甚至都没认出他来，”马隆回忆道，“他当时蓄着胡子，而我又那么小。我们聊了电影，谈话很愉快，最后他说：‘很高兴认识你，我是保罗。’而我当时想，等等，这是保罗·托马斯·安德森？我像个遇到偶像的小女孩一样开心，然后想我不会再遇见他。”
然而，去年，她接到了安德森的电话：“你好，你还记得我们十年前见过面吗？”他邀请她扮演奥佩。奥佩是个曾经沉迷毒品的瘾君子，因为常年滥用药物，镶了两只大门牙。马隆说，奥佩这个角色其实隐喻着上世纪七十年代，曾经的瘾君子重新开始，换了新牙和新的发型，以及重新组建一个新家。“就好像自由恋爱梦想的消亡一般，”马隆说道。
对于马隆来说，这几乎就是一个圆梦时刻，她曾经在安德森的电影里面演绎一朵小花——那时她只有四岁，她的首次舞台表演就是在音乐剧《欢乐今宵》中扮演一朵会跳舞的小花。
她的母亲从事音乐舞台剧工作，所以马隆是在后台长大的，亲眼看到舞台剧的制作过程。但这也许是她童年中最平常不过的事儿。
马隆的父亲在里诺的一家赌场做荷官，在与马隆的母亲风流缱绻之时实为另一女子的丈夫。马隆与父亲一直关系疏离，直到她十几岁时，他们才重新联系。所以说，马隆是由她母亲以及母亲的女朋友带大的。
“她们是情侣，”马隆说道，“我有两个妈妈，非常棒，双重的欢乐！你在小时候得到的爱越多越好。”
因为生活不宽裕，她们搬家频繁——马隆九岁前搬了27次家。
“我们当时很穷，”她回忆道，“我们搬出了公寓，成了失业人員，找租金更便宜的地方，被赶出来后住在车里，后来住在酒店里。多么辉煌的历史。”
她补充道：“我不觉得这样的童年很艰难，我其实觉得挺欢腾的，而且这也为我进入这个奇怪的、居无定所的演员行业打下了基础。让孩子在住所和生活方式上有多种选择是一件美好的事情。这让你明白，安全感来自于内心，而不是称之为家的四堵墙。这样的成长方式很特别，让人对生活有另一番见解。”
尽管童年坎坷，马隆对自己的评价是“出奇地负责任”，十岁的时候就想着要为妈妈付账单。也就是那时候她预约了人生中的第一次试镜——加州大学洛杉矶分校电影学院学生毕业短片《星期天的孩子》，她从中得到了一点报酬。十岁的小女孩紧紧地盯着母亲的眼睛，说道：“我得到了一份工作，我们用一年的时间试试看会怎样。”
在她十一岁那年，她在安杰丽卡·休斯顿执导的电影《卡罗莱纳的私生女》中扮演宝恩·博特赖特一角。这是个不简单的角色，在戏里要用南方口音演绎，还要遭受由罗恩·爱尔达扮演的继父的暴打以及性侵。但是马隆勇敢的转变让她大放异彩，提名1996年独立精神奖最佳新人奖以及美国演员工会奖。
另一个精彩的转折点在接下来的《继母》一片中，她扮演苏珊·萨兰登的叛逆女儿，而在千禧年的一月，刚满十五岁的马隆正式成年。“我想长大，而我感觉自己成为大人好久了。”
尽管她早年的角色有那么点消极，例如在《死亡幻觉》中扮演杰克·吉伦哈尔的爱人，或是《被拯救者》中就读基督教高中的意外怀孕的困惑少女，但是马隆在最近进行银幕转型，摇身一变成为打女，例如在《饥饿游戏》中的乔安娜，还有，如果传言是真的（她说她不会透露任何信息），她要成为女版罗宾。“这样的角色和我本性相差甚远，”马隆说道，“我本人更笨拙、温柔以及负责。”
的确，无论是个人生活还是职业道路，马隆的状况都很不错。她事业繁忙，2015年预计有六部电影上映，据说过去一年还和一个小伙子谈恋爱。
“这段时间我受到不少启发，总让我对自己的童年心存感恩，感谢自己得到的东西、受过的教训，因为这些决定了你会成为怎样的人，”她说，“这是一段不可思议的旅程，我觉得自己很幸运。”