Pimps, Hos, Playa Hatas, and All the Rest of My Hollywood Friends: My Life
Format: PDF / Kindle (mobi) / ePub
Fans of John Leguizamo's smash-hit one-man shows (Mambo Mouth, Spic-o-rama, Freak, and Sexaholix) have already gotten a glimpse into his life, but this book tells the whole story, carrying readers along on a wild journey from his childhood in Queens to his current home at the top of the Hollywood pyramid. An acclaimed director, producer, and play-wright, and one of the highest-paid Latin actors in the world, Leguizamo shares the stories behind his many roles—what inspired them and what transpired as he created them—while dishing on his personal relationships with his family, friends, and celebrity colleagues. Here is both an intimate self-portrait and a unique behind-the-scenes look at the magic and chaos of stardom, a keenly intelligent and insanely funny book that celebrates a remarkably talented artist's greatest achievement: growing up Latino in America and succeeding on his own terms.
much uproar backstage that it kind of upstaged what was going on in front of the audience. Where the great F. Murray Abraham was performing. And the great F. Murray Abraham takes himself and his craft v-e-r-y seriously. He carries his Amadeus Oscar with him everywhere, in the dressing room, even brings it onstage and hides it behind scenery. I’m not kidding. He grew up in Texas with a lot of Mexicans, but he thinks he’s British. He has a very toffy accent—old Mrs. Parsons would’ve given him
characters I came up with for Mambo Mouth. I was performing them one character at a time at all the performance art spaces in downtown Manhattan—PS 122, a place called Home (where Camryn Manheim was stage manager), Dixon Place, Gusto House in Alphabet City. That’s why I moved to Alphabet City, because I was there all the time performing, and it was a really creative, fecund, fertile place back then, the late 80s and early 90s. The coolest white people I ever met were hanging out there then. I was
myself. Loved proving I could do the outrageous costumes and physical transformations. The drag queens, the clown from hell, two different genies in Arabian Nights, Toulouse-Lautrec in Moulin Rouge! But I feel like I’m done with all that now. I don’t have to prove I can act anymore. Empire was the beginning of the next phase of my career, where as often as I can I play characters who are real and closer to me. I’ll still do some of the silly stuff, but now it’s to earn enough bread and acquire
my mom and Serge. When they came to one of those public readings, they freaked. They still hate me for that show. They still attack me for Freak every chance they get. “How dare you,” my mom said, crying. “Please don’t put me in your show. Just tell them you sprang from air, like bacteria.” She was depressed for a month afterward. Serge was livid. “I’ll never forgive you. Telling everyone my grandmother was an alcoholic. She wasn’t an alcoholic. She could quit any time she wanted to. And how
which I thought was so-so. Then I did Titan A.E., which bombed. Then I did Sid in Ice Age, which was a giant success. Voiceovers are a trip to do. The first time I did it I was so confused. You go into a recording booth by yourself. You slap the headphones on. Then you just stand there. I was like, “You gonna show me the cartoon? Oh, no cartoon. So where are the other actors? Oh, no actors either. So I’m doing this alone? Reading the script by myself? Oh. This blows.” But then I realized how