吉娜·馬?。喝饺缴鸬男滦?/h1>
2015-04-29 00:00:00byMarlowSetrn
瘋狂英語(yǔ)·閱讀版 2015年3期
有著姣好的氣質(zhì)、銳利的眼神、可塑性極高的外型，童星出身的吉娜·馬隆至今已出道20多年，演出超過(guò)20部電影，類(lèi)型橫跨恐怖、古裝、經(jīng)典文學(xué)以及奇幻電影等，可算是好萊塢新一代女星中實(shí)力強(qiáng)勁的演技派。
馬隆的童年生活可謂是居無(wú)定所，她由同性戀母親及其女友一同撫養(yǎng)長(zhǎng)大，在她9歲前就搬過(guò)27次家，豐富的生活經(jīng)歷為馬隆從事演員這一職業(yè)打下了基礎(chǔ)。1996年，12歲的馬隆就憑借著電影處女作《卡羅萊納的私生女》提名美國(guó)獨(dú)立精神獎(jiǎng)的最佳新人獎(jiǎng)以及美國(guó)演員工會(huì)的突出表演獎(jiǎng)。之后，馬隆陸續(xù)出演了《繼母》、《冷山》、《死亡幻覺(jué)》、《饑餓游戲》、《性本惡》等多部電影。這些豐富的表演經(jīng)歷讓馬隆的演技日趨成熟，也讓她漸漸走入觀眾的視野。除了影視演出，馬隆還參與百老匯音樂(lè)劇的表演，出過(guò)自己的同名專(zhuān)輯，可謂演唱俱佳。如今，片約滿檔的馬隆正值事業(yè)高峰期，有望躋身一線女星行列。
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 1）noncanonical 2）graphic novel The Dark Knight Returns. And that’s in addition to her axewielding 3）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 4）junkie in Paul Thomas Anderson’s 5）gonzo 6）neo-noir Inherent Vice.
Malone first met Anderson by chance over a decade ago following the release of the 7）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 8）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 9）casino in Reno， was married to another woman when he 10）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 11）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 12）on the map， earning a 1996 Independent Spirit Award nod for Best Debut Performance， as well as a 13）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 14）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 15）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 16）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.”
我簡(jiǎn)直就是一個(gè)怪人，”吉娜·馬隆坦誠(chéng)道。
對(duì)于這位自稱“怪人”的演員來(lái)說(shuō)，今年是瘋狂的一年。她拍攝了六部電影，為第二張專(zhuān)輯巡演，在洛杉磯舉行了首個(gè)個(gè)人攝影展，還有，踏入而立之年。最近幾個(gè)月，她把頭發(fā)染紅了，據(jù)說(shuō)是為了她接下來(lái)在《蝙蝠俠大戰(zhàn)超人之正義黎明》里面的角色：卡莉·凱利—弗蘭克·米勒不在經(jīng)典之列的畫(huà)圖小說(shuō)《黑暗騎士歸來(lái)》里面的女羅賓。這是《饑餓游戲之嘲笑鳥(niǎo)Ⅰ》中使用斧頭的狠角色喬安娜·曼森之外又一個(gè)壞孩子角色，《嘲笑鳥(niǎo)》續(xù)集會(huì)在明年推出，此外，馬隆還會(huì)出演另一個(gè)搶鏡角色—在由保羅·托馬斯·安德森執(zhí)導(dǎo)的荒誕新黑色電影《性本惡》里面扮演一名改過(guò)自新的癮君子。
馬隆第一次遇見(jiàn)安德森完全是一個(gè)意外。十年前，在非主流熱門(mén)影片《死亡幻覺(jué)》上映后，當(dāng)時(shí)十七歲的她在洛杉磯著名的50年代風(fēng)漢堡包連鎖店“蘋(píng)果平底鍋”遇見(jiàn)安德森。
“老實(shí)說(shuō)，我當(dāng)時(shí)甚至都沒(méi)認(rèn)出他來(lái)，”馬隆回憶道，“他當(dāng)時(shí)蓄著胡子，而我又那么小。我們聊了電影，談話很愉快，最后他說(shuō)：‘很高興認(rèn)識(shí)你，我是保羅。’而我當(dāng)時(shí)想，等等，這是保羅·托馬斯·安德森？我像個(gè)遇到偶像的小女孩一樣開(kāi)心，然后想我不會(huì)再遇見(jiàn)他?！?/p>
然而，去年，她接到了安德森的電話：“你好，你還記得我們十年前見(jiàn)過(guò)面嗎？”他邀請(qǐng)她扮演奧佩。奧佩是個(gè)曾經(jīng)沉迷毒品的癮君子，因?yàn)槌Ｄ隇E用藥物，鑲了兩只大門(mén)牙。馬隆說(shuō)，奧佩這個(gè)角色其實(shí)隱喻著上世紀(jì)七十年代，曾經(jīng)的癮君子重新開(kāi)始，換了新牙和新的發(fā)型，以及重新組建一個(gè)新家?！熬秃孟褡杂蓱賽?ài)夢(mèng)想的消亡一般，”馬隆說(shuō)道。
對(duì)于馬隆來(lái)說(shuō)，這幾乎就是一個(gè)圓夢(mèng)時(shí)刻，她曾經(jīng)在安德森的電影里面演繹一朵小花—那時(shí)她只有四歲，她的首次舞臺(tái)表演就是在音樂(lè)劇《歡樂(lè)今宵》中扮演一朵會(huì)跳舞的小花。
她的母親從事音樂(lè)舞臺(tái)劇工作，所以馬隆是在后臺(tái)長(zhǎng)大的，親眼看到舞臺(tái)劇的制作過(guò)程。但這也許是她童年中最平常不過(guò)的事兒。
馬隆的父親在里諾的一家賭場(chǎng)做荷官，在與馬隆的母親風(fēng)流繾綣之時(shí)實(shí)為另一女子的丈夫。馬隆與父親一直關(guān)系疏離，直到她十幾歲時(shí)，他們才重新聯(lián)系。所以說(shuō)，馬隆是由她母親以及母親的女朋友帶大的。
“她們是情侶，”馬隆說(shuō)道，“我有兩個(gè)媽媽?zhuān)浅０?，雙重的歡樂(lè)！你在小時(shí)候得到的愛(ài)越多越好?！?/p>
因?yàn)樯畈粚捲＃齻儼峒翌l繁—馬隆九歲前搬了27次家。
“我們當(dāng)時(shí)很窮，”她回憶道，“我們搬出了公寓，成了失業(yè)人員，找租金更便宜的地方，被趕出來(lái)后住在車(chē)?yán)铮髞?lái)住在酒店里。多么輝煌的歷史。”
她補(bǔ)充道：“我不覺(jué)得這樣的童年很艱難，我其實(shí)覺(jué)得挺歡騰的，而且這也為我進(jìn)入這個(gè)奇怪的、居無(wú)定所的演員行業(yè)打下了基礎(chǔ)。讓孩子在住所和生活方式上有多種選擇是一件美好的事情。這讓你明白，安全感來(lái)自于內(nèi)心，而不是稱之為家的四堵墻。這樣的成長(zhǎng)方式很特別，讓人對(duì)生活有另一番見(jiàn)解?！?/p>
盡管童年坎坷，馬隆對(duì)自己的評(píng)價(jià)是“出奇地負(fù)責(zé)任”，十歲的時(shí)候就想著要為媽媽付賬單。也就是那時(shí)候她預(yù)約了人生中的第一次試鏡—加州大學(xué)洛杉磯分校電影學(xué)院學(xué)生畢業(yè)短片《星期天的孩子》，她從中得到了一點(diǎn)報(bào)酬。十歲的小女孩緊緊地盯著母親的眼睛，說(shuō)道：“我得到了一份工作，我們用一年的時(shí)間試試看會(huì)怎樣?！?/p>
在她十一歲那年，她在安杰麗卡·休斯頓執(zhí)導(dǎo)的電影《卡羅萊納的私生女》中扮演寶恩·博特賴特一角。這是個(gè)不簡(jiǎn)單的角色，在戲里要用南方口音演繹，還要遭受由羅恩·愛(ài)爾達(dá)扮演的繼父的暴打以及性侵。但是馬隆勇敢的轉(zhuǎn)變讓她大放異彩，提名1996年獨(dú)立精神獎(jiǎng)最佳新人獎(jiǎng)以及美國(guó)演員工會(huì)獎(jiǎng)。
另一個(gè)精彩的轉(zhuǎn)折點(diǎn)在接下來(lái)的《繼母》一片中，她扮演蘇珊·薩蘭登的叛逆女兒，而在千禧年的一月，剛滿十五歲的馬隆正式成年?！拔蚁腴L(zhǎng)大，而我感覺(jué)自己成為大人好久了。”
盡管她早年的角色有那么點(diǎn)消極，例如在《死亡幻覺(jué)》中扮演杰克·吉倫哈爾的愛(ài)人，或是《被拯救者》中就讀基督教高中的意外懷孕的困惑少女，但是馬隆在最近進(jìn)行銀幕轉(zhuǎn)型，搖身一變成為打女，例如在《饑餓游戲》中的喬安娜，還有，如果傳言是真的（她說(shuō)她不會(huì)透露任何信息），她要成為女版羅賓?！斑@樣的角色和我本性相差甚遠(yuǎn)，”馬隆說(shuō)道，“我本人更笨拙、溫柔以及負(fù)責(zé)。”
的確，無(wú)論是個(gè)人生活還是職業(yè)道路，馬隆的狀況都很不錯(cuò)。她事業(yè)繁忙，2015年預(yù)計(jì)有六部電影上映，據(jù)說(shuō)過(guò)去一年還和一個(gè)小伙子談戀愛(ài)。
“這段時(shí)間我受到不少啟發(fā)，總讓我對(duì)自己的童年心存感恩，感謝自己得到的東西、受過(guò)的教訓(xùn)，因?yàn)檫@些決定了你會(huì)成為怎樣的人，”她說(shuō)，“這是一段不可思議的旅程，我覺(jué)得自己很幸運(yùn)?！?/p>
有著姣好的氣質(zhì)、銳利的眼神、可塑性極高的外型，童星出身的吉娜·馬隆至今已出道20多年，演出超過(guò)20部電影，類(lèi)型橫跨恐怖、古裝、經(jīng)典文學(xué)以及奇幻電影等，可算是好萊塢新一代女星中實(shí)力強(qiáng)勁的演技派。
馬隆的童年生活可謂是居無(wú)定所，她由同性戀母親及其女友一同撫養(yǎng)長(zhǎng)大，在她9歲前就搬過(guò)27次家，豐富的生活經(jīng)歷為馬隆從事演員這一職業(yè)打下了基礎(chǔ)。1996年，12歲的馬隆就憑借著電影處女作《卡羅萊納的私生女》提名美國(guó)獨(dú)立精神獎(jiǎng)的最佳新人獎(jiǎng)以及美國(guó)演員工會(huì)的突出表演獎(jiǎng)。之后，馬隆陸續(xù)出演了《繼母》、《冷山》、《死亡幻覺(jué)》、《饑餓游戲》、《性本惡》等多部電影。這些豐富的表演經(jīng)歷讓馬隆的演技日趨成熟，也讓她漸漸走入觀眾的視野。除了影視演出，馬隆還參與百老匯音樂(lè)劇的表演，出過(guò)自己的同名專(zhuān)輯，可謂演唱俱佳。如今，片約滿檔的馬隆正值事業(yè)高峰期，有望躋身一線女星行列。
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 1）noncanonical 2）graphic novel The Dark Knight Returns. And that’s in addition to her axewielding 3）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 4）junkie in Paul Thomas Anderson’s 5）gonzo 6）neo-noir Inherent Vice.
Malone first met Anderson by chance over a decade ago following the release of the 7）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 8）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 9）casino in Reno， was married to another woman when he 10）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 11）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 12）on the map， earning a 1996 Independent Spirit Award nod for Best Debut Performance， as well as a 13）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 14）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 15）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 16）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.”
我簡(jiǎn)直就是一個(gè)怪人，”吉娜·馬隆坦誠(chéng)道。
對(duì)于這位自稱“怪人”的演員來(lái)說(shuō)，今年是瘋狂的一年。她拍攝了六部電影，為第二張專(zhuān)輯巡演，在洛杉磯舉行了首個(gè)個(gè)人攝影展，還有，踏入而立之年。最近幾個(gè)月，她把頭發(fā)染紅了，據(jù)說(shuō)是為了她接下來(lái)在《蝙蝠俠大戰(zhàn)超人之正義黎明》里面的角色：卡莉·凱利—弗蘭克·米勒不在經(jīng)典之列的畫(huà)圖小說(shuō)《黑暗騎士歸來(lái)》里面的女羅賓。這是《饑餓游戲之嘲笑鳥(niǎo)Ⅰ》中使用斧頭的狠角色喬安娜·曼森之外又一個(gè)壞孩子角色，《嘲笑鳥(niǎo)》續(xù)集會(huì)在明年推出，此外，馬隆還會(huì)出演另一個(gè)搶鏡角色—在由保羅·托馬斯·安德森執(zhí)導(dǎo)的荒誕新黑色電影《性本惡》里面扮演一名改過(guò)自新的癮君子。
馬隆第一次遇見(jiàn)安德森完全是一個(gè)意外。十年前，在非主流熱門(mén)影片《死亡幻覺(jué)》上映后，當(dāng)時(shí)十七歲的她在洛杉磯著名的50年代風(fēng)漢堡包連鎖店“蘋(píng)果平底鍋”遇見(jiàn)安德森。
“老實(shí)說(shuō)，我當(dāng)時(shí)甚至都沒(méi)認(rèn)出他來(lái)，”馬隆回憶道，“他當(dāng)時(shí)蓄著胡子，而我又那么小。我們聊了電影，談話很愉快，最后他說(shuō)：‘很高興認(rèn)識(shí)你，我是保羅。’而我當(dāng)時(shí)想，等等，這是保羅·托馬斯·安德森？我像個(gè)遇到偶像的小女孩一樣開(kāi)心，然后想我不會(huì)再遇見(jiàn)他?！?/p>
然而，去年，她接到了安德森的電話：“你好，你還記得我們十年前見(jiàn)過(guò)面嗎？”他邀請(qǐng)她扮演奧佩。奧佩是個(gè)曾經(jīng)沉迷毒品的癮君子，因?yàn)槌Ｄ隇E用藥物，鑲了兩只大門(mén)牙。馬隆說(shuō)，奧佩這個(gè)角色其實(shí)隱喻著上世紀(jì)七十年代，曾經(jīng)的癮君子重新開(kāi)始，換了新牙和新的發(fā)型，以及重新組建一個(gè)新家?！熬秃孟褡杂蓱賽?ài)夢(mèng)想的消亡一般，”馬隆說(shuō)道。
對(duì)于馬隆來(lái)說(shuō)，這幾乎就是一個(gè)圓夢(mèng)時(shí)刻，她曾經(jīng)在安德森的電影里面演繹一朵小花—那時(shí)她只有四歲，她的首次舞臺(tái)表演就是在音樂(lè)劇《歡樂(lè)今宵》中扮演一朵會(huì)跳舞的小花。
她的母親從事音樂(lè)舞臺(tái)劇工作，所以馬隆是在后臺(tái)長(zhǎng)大的，親眼看到舞臺(tái)劇的制作過(guò)程。但這也許是她童年中最平常不過(guò)的事兒。
馬隆的父親在里諾的一家賭場(chǎng)做荷官，在與馬隆的母親風(fēng)流繾綣之時(shí)實(shí)為另一女子的丈夫。馬隆與父親一直關(guān)系疏離，直到她十幾歲時(shí)，他們才重新聯(lián)系。所以說(shuō)，馬隆是由她母親以及母親的女朋友帶大的。
“她們是情侶，”馬隆說(shuō)道，“我有兩個(gè)媽媽?zhuān)浅０?，雙重的歡樂(lè)！你在小時(shí)候得到的愛(ài)越多越好?！?/p>
因?yàn)樯畈粚捲＃齻儼峒翌l繁—馬隆九歲前搬了27次家。
“我們當(dāng)時(shí)很窮，”她回憶道，“我們搬出了公寓，成了失業(yè)人員，找租金更便宜的地方，被趕出來(lái)后住在車(chē)?yán)铮髞?lái)住在酒店里。多么輝煌的歷史。”
她補(bǔ)充道：“我不覺(jué)得這樣的童年很艱難，我其實(shí)覺(jué)得挺歡騰的，而且這也為我進(jìn)入這個(gè)奇怪的、居無(wú)定所的演員行業(yè)打下了基礎(chǔ)。讓孩子在住所和生活方式上有多種選擇是一件美好的事情。這讓你明白，安全感來(lái)自于內(nèi)心，而不是稱之為家的四堵墻。這樣的成長(zhǎng)方式很特別，讓人對(duì)生活有另一番見(jiàn)解?！?/p>
盡管童年坎坷，馬隆對(duì)自己的評(píng)價(jià)是“出奇地負(fù)責(zé)任”，十歲的時(shí)候就想著要為媽媽付賬單。也就是那時(shí)候她預(yù)約了人生中的第一次試鏡—加州大學(xué)洛杉磯分校電影學(xué)院學(xué)生畢業(yè)短片《星期天的孩子》，她從中得到了一點(diǎn)報(bào)酬。十歲的小女孩緊緊地盯著母親的眼睛，說(shuō)道：“我得到了一份工作，我們用一年的時(shí)間試試看會(huì)怎樣?！?/p>
在她十一歲那年，她在安杰麗卡·休斯頓執(zhí)導(dǎo)的電影《卡羅萊納的私生女》中扮演寶恩·博特賴特一角。這是個(gè)不簡(jiǎn)單的角色，在戲里要用南方口音演繹，還要遭受由羅恩·愛(ài)爾達(dá)扮演的繼父的暴打以及性侵。但是馬隆勇敢的轉(zhuǎn)變讓她大放異彩，提名1996年獨(dú)立精神獎(jiǎng)最佳新人獎(jiǎng)以及美國(guó)演員工會(huì)獎(jiǎng)。
另一個(gè)精彩的轉(zhuǎn)折點(diǎn)在接下來(lái)的《繼母》一片中，她扮演蘇珊·薩蘭登的叛逆女兒，而在千禧年的一月，剛滿十五歲的馬隆正式成年?！拔蚁腴L(zhǎng)大，而我感覺(jué)自己成為大人好久了。”
盡管她早年的角色有那么點(diǎn)消極，例如在《死亡幻覺(jué)》中扮演杰克·吉倫哈爾的愛(ài)人，或是《被拯救者》中就讀基督教高中的意外懷孕的困惑少女，但是馬隆在最近進(jìn)行銀幕轉(zhuǎn)型，搖身一變成為打女，例如在《饑餓游戲》中的喬安娜，還有，如果傳言是真的（她說(shuō)她不會(huì)透露任何信息），她要成為女版羅賓?！斑@樣的角色和我本性相差甚遠(yuǎn)，”馬隆說(shuō)道，“我本人更笨拙、溫柔以及負(fù)責(zé)。”
的確，無(wú)論是個(gè)人生活還是職業(yè)道路，馬隆的狀況都很不錯(cuò)。她事業(yè)繁忙，2015年預(yù)計(jì)有六部電影上映，據(jù)說(shuō)過(guò)去一年還和一個(gè)小伙子談戀愛(ài)。
“這段時(shí)間我受到不少啟發(fā)，總讓我對(duì)自己的童年心存感恩，感謝自己得到的東西、受過(guò)的教訓(xùn)，因?yàn)檫@些決定了你會(huì)成為怎樣的人，”她說(shuō)，“這是一段不可思議的旅程，我覺(jué)得自己很幸運(yùn)?！?/p>
