Madelaine Petsch

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Reclaiming with Monica Lewinsky 1h 2m 3 speakers 8 chapters transcribed
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What challenges did Madelaine Petsch face before becoming an actress?

you
Madelaine Petsch 0:06
I'm actually really coming to terms with as an adult because there's so many like ricocheting effects from the way that I was raised that I find in like personal relationships where I really do chameleon to behavior in the room. So like right now, if all of a sudden your body language changed and you seemed upset with me, I would immediately go into fight or flight. And I would have to actively work and do the therapy I've done to remove my sense of worry about what I could have done to upset you. Because that was what I was taught to do as a child. My father would immediately flip on a dime and, you know, say things that he didn't necessarily mean. And I immediately as a child, you're like, what did I just do to make him do that?
Monica Lewinsky 0:51
Madeline, welcome to Reclaiming. Thank you for having me. Yeah. I'm actually going to dive right in because ever since I learned this about you, I think it might have even triggered me. But I'm just so curious because I am a rejection-sensitive person, maybe even rejection-sensitive dysphoria. Maybe I might even have that. I don't know. I tried to self-diagnose.

How did Madelaine Petsch cope with rejection in her early career?

Monica Lewinsky 1:15
But when I learned that you went on 250 auditions before you landed Riverdale.
Unknown 1:25
Yeah.
Monica Lewinsky 1:26
How did you find yourself again after each incident and then show back up again?
Madelaine Petsch 1:33
It was honestly so much less heartbreaking at the beginning of my career because it's just par for the course when you're a new actress in Hollywood. You don't expect to book anything. I mean, I always knew that I had the calling to it. I always knew that this is what I was supposed to be doing, but I never thought it would be easy. So in the beginning, it was like every rejection was like, okay, let me get the note. Let me find out why it didn't work. Let me take notes. I had a notebook.
Wow.
Madelaine Petsch 1:54
I would keep track of, like, the casting director's name, if they told me any personal facts about themselves, any notes they gave me on the character. And I'd, like, keep all of that in a notebook so I could, like, kind of use that to my advantage moving forward. It became a lot harder to receive rejection, like, at this point in my career now.

What role do horror movies play in Madelaine's emotional regulation?

Madelaine Petsch 2:08
Because there's, you know, when you're going on, there's certain levels of callbacks where, like, I was going on pre-reads, which is, like, before you even get an audition. So I'm pre-reading with a casting associate. Sometimes they're not even recording it. And they're just, like, seeing if you're good. So it's, like, a pre-read is, like, you're not even, the door's not even open yet. Right. Now the door is fully open and I'm usually doing like a director meeting or a callback or whatever. So you've got to be really in love with the material. And for me to do the job, I have to love the character. I have to be obsessed with the character. And so I become obsessed and I like understand everything about them and I fall in love.
Madelaine Petsch 2:37
And then I've got to learn to walk away. And that's much harder, I think, now.
Monica Lewinsky 2:40
That's really interesting. I've seen that, and I know you're producing too, and we'll talk about that later on.

How did Madelaine's family background influence her perspective on strength?

Monica Lewinsky 2:46
But it's one of the facets of producing that's been interesting to me to see, because I sort of came into the industry late in my career, if you will. And so I get to see things from a very different lens. But the whole, you fall in love with the show, you're spending so much time with the writer and showrunner trying to create the pitch, and you're Every moment, everything, and you get in there and then it doesn't go. And it's interesting because I sort of feel in some ways like the industry is weirdly designed to kill creativity in a sense. Because I find myself now, and I haven't even been doing this very long, but I'll find myself sort of thinking, okay, I'm not going to invest as much as I did last time because there's
Monica Lewinsky 3:36
that felt like such a devastation. And I'm not even the writer. I'm just a producer, so.
Madelaine Petsch 3:42
I think protection also can be like a thief of creativity, though, in a way. I think like, you know, yes, we're in a weird time in the industry in general where I do find we're not really taking risks like we used to because I get studio mandates, right?

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