“Empathy is such a powerful, transformative tool — it creates inclusion rather than division. We all just want to be free to do what we want and love who we want.”
I had the pleasure of talking with John Patrick Amedori. John Patrick is an American actor and musician who has steadily carved a niche for himself in the entertainment industry through a blend of memorable roles and creative versatility. He is widely recognized for his portrayal of Gabe Mitchell in the Netflix series Dear White People, as well as his role in the STARZ drama series Three Women, based on the bestselling book by Lisa Taddeo. Known for his nuanced performances and dedication to his craft, Amedori has consistently demonstrated his range across both television and film.
Born at Johns Hopkins Hospital in Baltimore, Maryland, and raised in Harford County, Amedori discovered his passion for the arts at an early age. His creative spark was ignited by a childhood fascination with movies and music, fueled by classics like Jaws and Edward Scissorhands. By the age of 12, he began formally pursuing acting, enrolling at a performing arts school in Pennsylvania, where he studied the Meisner technique and honed his on-camera skills. His early break came through an unconventional path when he submitted a videotape of himself playing guitar to director Cameron Crowe. Impressed by the young artist’s talent and earnestness, Crowe created a small role for Amedori in the critically acclaimed film Almost Famous (2000), giving him a valuable introduction to the industry.
Amedori’s filmography spans an eclectic mix of projects, beginning with his role as a young Evan Treborn in The Butterfly Effect (2004). He showcased his athleticism and charm in the gymnastics-centered film Stick It (2006) and appeared in Scott Pilgrim vs. the World (2010), alongside Michael Cera and Anna Kendrick. In addition, he starred in The Vatican Tapes (2015), a horror-thriller where he shared the screen with Michael Peña and Djimon Hounsou, and Jayne Mansfield’s Car (2012), directed by Billy Bob Thornton.
On television, Amedori has played diverse characters, including Aaron Rose, a love interest of Serena van der Woodsen, in the second season of Gossip Girl. He also held recurring roles in Vanished, Hindsight, and NBC’s Aquarius. His portrayal of Gabe Mitchell in Dear White People earned critical acclaim, with media outlets praising the series as “refreshingly on-point” (The Guardian) and “a tremendous artistic achievement” (The Atlantic). Amedori has also made notable appearances in The Good Doctor and Law & Order.
In 2024, Amedori takes on the role of Jack in Three Women, a character described as deeply romantic and unconditionally devoted to Shailene Woodley’s Gia. The series explores themes of love, intimacy, and self-discovery through the intersecting stories of its central female characters. Amedori’s performance has been described as both heartfelt and compelling, adding depth to the show’s exploration of human relationships.
In addition to acting, Amedori is a passionate musician and multi-instrumentalist. He regularly writes and records original songs, some of which have featured in his film and television projects. His musical influences range from Nirvana and Sonic Youth to Daniel Johnston, and he continues to explore genres such as thrash metal and shoegaze. Amedori also pursues other creative outlets, including painting and studying cinematography, with aspirations to expand his work behind the camera.
Off-screen, Amedori is known for his love of skateboarding, motorcycles, and his thoughtful reflections on art and life. His experiences on sets and his collaborations with talented filmmakers and actors have left an indelible mark on his approach to storytelling, which he describes as deeply rooted in empathy and authenticity.
As Amedori’s career continues to evolve, he remains committed to supporting the arts and contributing to a creative community that values innovation and collaboration. His journey from a young boy in Maryland to a multi-faceted artist and actor serves as a testament to his dedication, talent, and ability to connect with audiences through his work.
John Patrick, it’s amazing to meet you. Before we dive in deep, I’d really love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
I was born at Johns Hopkins in Baltimore, Maryland, and I was raised about 30 minutes outside of Baltimore City with my parents and my younger brother. That’s where it all started.
From my earliest memories, I remember just watching TV — whatever was on — and being fascinated by the rhythm of music and performing. One day, I remember watching Jaws and Edward Scissorhands back to back. I think I was about eight or nine at the time.
By then, I’d already wanted to play guitar and be a musician. But I had this epiphany after watching those movies. I walked into the kitchen and realized, “Oh, these are people. Someone wrote this, someone performed it, and someone directed it.” And I just knew I wanted to do that.
I told my mother, and she said, “Okay.” Around that time, they were filming a period piece in Fell’s Point. The movie was Washington Square. It was just background work, but I remember it was 110% humidity, and I was wearing period-accurate wool clothing. I was sweating, and they put fake soot on my face because I was playing a street urchin.
My mother told me afterward, “You didn’t complain once. So, you must have been enjoying yourself.” And from there, one thing led to another, and we just stuck with it.
That’s great. You’ve had quite a few amazing stories from different parts of your career. Can you share one or two stories that stand out most from your professional life?
Oh wow. Let’s see.
There have been quite a few experiences. I’ll start with one that really stood out to me — it was a really impactful moment because I was hanging out with Jeff Bridges. He said something that stuck with me: “It’s all about the hang.” He meant that making movies is all about the connections and the time you spend with people, and I’ve tried to carry that mindset into everything since then.
I’ve been really fortunate to work with so many smart, talented, instinctual writers, directors, and actors. One of the most memorable experiences for me was working on Jane Mansfield’s Car. That project felt like camp in the best way and that cast was just huge — Robert Patrick, Kevin Bacon, Billy Bob Thornton, John Hurt. John Hurt and I became really close on that film. We spent a lot of late nights just talking.
Those kinds of experiences — talking to other artists, hearing their stories, and exchanging ideas — really help shape your perspective. It sticks with you and influences the way you approach other roles.
It’s hard for me to pick just one standout moment because I’ve been so lucky to play a wide range of characters. I guess it’s something I’ll have to reflect on a little more later, but those are a couple of experiences that come to mind right now.
So, we love hearing stories where someone who’s a little further ahead opens a door or creates an opportunity that changes someone’s career trajectory. Do you have a story like that — either where someone did that for you or where you did that for someone else?
Well, Almost Famous was really the first thing I booked that solidified my future in this industry. There was an open casting call for the lead role that Patrick Fugit ended up playing, and I sent in a tape to Cameron Crowe. I didn’t have a script, an agent, or a manager — this was pre-internet — and it was just something we found in Variety, like an open casting notice. My mom came up with the idea for me to make a tape where I played guitar and talked about how I thought music was universal, how it could be a way for people to communicate. I was just 11 years old, talking about what music meant to me.
Cameron responded to that tape. He thought I was too young to play the role he had in mind, but instead of just moving on, he actually wrote a part for me. My first role was named after me, which is pretty wild. That experience set a really interesting tone for me at such a young age — at 12 years old, I felt like I could be Kurt Cobain, David Bowie, or Steven Spielberg. For Cameron to take a chance on me like that, to say, “Hey, I’m going to write something just for you,” was life-changing.
I ended up spending two weeks on set, just hanging out in wardrobe with Billy Crudup, having these long conversations about music, meeting Kate Hudson and Noah Taylor. I’d hang out at Video Village, watching how movies were made, absorbing everything. It was such a formative experience.
I was just a kid, but it gave me the confidence to believe this was something I could actually do. So, yeah, I think that’s the story that best answers your question.
It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting out in acting and the lesson you learned from it?
I don’t know if I necessarily learned a clear-cut lesson, but I do have a story that sticks out. The first thing that comes to mind is auditions — there’s always something a little awkward or funny that happens in auditions. I was never the kind of person to bring props into the room because that was kind of a big no-no. But one time, I was auditioning for a movie that I think David Duchovny was directing or maybe producing, and he was in the room.
In the scene, my character gets into an argument and is supposed to storm out of the room. So, I really went for it — I stormed out of the audition room and slammed the door behind me. I was so into it that I stayed outside, thinking that was how the scene was supposed to end. Then I heard David on the other side of the door, saying, “Uh, hey… come back!” I was embarrassed, but at least I was committed!
Fast forward about ten years, when I was working on Jane Mansfield’s Car. When I first auditioned for that role, I chose not to do an accent. I didn’t want to go in there and sound like Foghorn Leghorn in front of Billy Bob Thornton, so I focused more on the character’s essence rather than trying to nail the Southern accent right away. After the audition, Billy Bob gave me this great piece of advice. He said, “You know, auditions aren’t real, man. I’ve got a cabinet full of trophies — not one of them’s from auditioning.”
That really stuck with me. It taught me that you don’t have to overperform or hit every detail perfectly in an audition. If you’ve got the vibe and the essence of the character, the rest can be worked out later.
So, looking back, those two moments — the time I stormed out of an audition and the conversation with Billy Bob — both taught me a lot about just trusting the process and focusing on what’s really important: staying true to the character and bringing authenticity to the table.
Okay, so John, you have so much impressive work. Can you share with our readers some exciting projects you’re working on now and what you’ll be releasing in the near future?
Yeah, well, right now we’ve been focusing on promoting Three Women as much as we can because I’m really proud of the work that everybody did on this project. From the first Zoom table read we did, with Betty Gilpin crying and laughing through tears, it really set a bar — like, “Fuck yeah, we’re doing this. We’re acting. And we’re going to give it our all.” So, I’m doing that.
I’ve also been working on some personal projects. I direct in my own time, so there’s room for that in the future. Music is always something I’m working on too. I write every day, and there are different windows, doors, and alleyways for that to take on a life of its own.
But yeah, there’s a lot of open waters ahead. A lot of open waters, and I’m pretty excited about it.
So, let’s talk about Three Women. What would you say is the lesson or the message that society can take from the themes of Three Women?
On one aspect, I think the broader theme is love — the love we think we deserve, the love we’re willing to accept, and the love we might avoid. In Jack and Gia’s relationship, for example, she’s running away from what that love could actually do for her because it’s a protective thing. Betty’s character, on the other hand, is longing for the intimacy she’s not getting in her marriage. And Dawanda’s character has her own unique perspective on love and connection.
I think love is such a universal thing, but it can’t be defined in one simple way. It’s not this monosyllabic concept — it has so many different shades and layers. Everybody wants love, but some people don’t know how to get it, or they haven’t figured out how they want it yet.
What makes Three Women special is that it doesn’t pull any punches — it’s truthful and raw, and it really gives a voice to women’s perspectives. Even in life, the male gaze often overpowers women’s perspectives, whether it’s in terms of what men find attractive or how women are expected to navigate those dynamics. The show does a great job of addressing that, along with the sociological ways we all exist within those constructs.
Love is raw, and the show portrays that. Even the intimacy scenes — those are shown in a way that feels authentic and from the women’s perspectives. It’s not overly romanticized; it’s real. Whether the intimacy is flippant or deeply serious, it’s about showing these experiences for what they are.
One of the things I personally took away, especially through Jack and Gia’s story, is this idea that whimsical love deserves to be taken seriously, and serious love deserves to be whimsical. That’s what stuck with me from my experience of being part of the show.
That’s great. How would you compare and contrast your personal character, John Patrick, with Jack, the character you play? How are you similar, and how are you different?
I feel like I allowed parts of myself to come through in Jack. I was kind of living vicariously through his unabashed, unbounded love for Gia. I’ve always considered myself a bit of a romantic, and that’s something I related to deeply. At the time, I was feeling a little lonely — I was going through my own period of loneliness — and playing Jack almost prepared me for the love I have in my life now. It taught me not to go into anything with expectations and reminded me that things happen when they’re meant to happen.
I also lost my best friend, someone I’d known since I was a kid, right before we started shooting. I was really grateful to have work to focus on during that grieving process. The show, along with Shailene, Louise (our director), Lisa, and the whole team, became a kind of support system for me. Playing Jack, who’s essentially like Wall-E — this character who would literally go to outer space for the woman he loves — helped me channel all these raw emotions.
It was like the grief ripped open my chest, and I became this Care Bear of feelings. I wanted to let everything in, and I wanted to give everything I could. That process, the grief and the show together, helped me a lot. I’m still learning and being shaped by the experience, but I’m not ruminating as much as I used to. It’s been a journey, and Jack’s openness and love were definitely a part of that healing for me.
Well, you mentioned Almost Famous, so it would be remiss not to ask about it. It’s one of my favorite movies and one of the most popular music films of all time. In your opinion, what do you think it was that captured people’s hearts and minds about the film?
Oh wow. It really does exude and capture what’s magical about music, and that transcends so much. Man, that’s such a great question — good job, thank you! I don’t know… First of all, it’s very charming. It’s a very personal movie. Cameron wrote it loosely based on his own experiences. I think what’s really special is that there’s a nice romanticism in the film that isn’t taken for granted. You’re kind of left with the beauty in experience, growth, loss, and trying to understand the world around you.
Music and film have a way of making you feel like you can understand the world, and that’s something the film really captures. For me, Almost Famous is just a gift. I don’t think there’s ever been another movie like it since, and there wasn’t a movie like it before. It was great timing, too.
The cast is amazing. Fairuza Balk — she was such a huge part of the films and TV I watched growing up. And Patrick and his sweetness, Kate, everybody, man. It’s a great movie. Jason Lee — I have to talk about Jason Lee for a second. Jason Lee, being a professional skateboarder, I really looked up to him and he was really sweet when I met him. I think that kind of energy is what the film has.
I was like, “I don’t know if you know me or remember me or anything, because we never met in person, but I was in Almost Famous.” And he was like, “Oh no, I saw your tape, man. It was really great.” I said, “Oh, thanks.” He was really sweet. And I think that kind of energy is what the film has.
It’s just a wonderful movie. It’s sweet. Frances McDormand is probably one of our generation’s greatest actresses. She’s able to be so true to the kind of cringiness of the overprotective mother, and she lays into it in such a beautiful, natural way.
The whole film is full of those kinds of things. Mitch Hedberg is in it for a moment, Peter Frampton is in it — it’s just a beautiful movie. It really is.
This is our signature question. So, you’ve been blessed with a lot of success. Looking back to when you first started, can you share, based on your experience, five things you need to shine in the entertainment industry?
- Always Stay a Fan
The moment you stop being a fan, when you’re no longer enjoying the process that it takes to get wherever you’re going, then maybe it’s time to take a step back and come back to it later. I’m not saying give up on your dream — things are going to get hard, and sometimes they might come fairly easily. But as long as you genuinely love what you’re doing, you’ll be good to go. - Perspective
Develop your own perspective. The art you like, the music you listen to, your taste in films — all of that helps shape your instincts. Building your own taste informs how you approach characters or transition from role to role. It’s important to understand what inspires you and let that guide your creativity. - Don’t Be Afraid to Make Mistakes
Acting is an incredibly vulnerable thing. You’re going to feel like an idiot sometimes — whether it’s from technical things on set, like forgetting your mark, or just making a bold choice that doesn’t land. But you have to go in there and do the best you can. This ties into trusting yourself. If you’re fortunate enough to book a job, get called in for an audition, or even a callback, it means you have something to offer. Even if you don’t get the part, trust that your talent has value. - You’re an Artist — Trust Your Instrument
As actors, our instrument is our body, mind, and life experiences. You’re bringing something unique to the table that no one else can. That’s what people respond to. For me, I love working with people who care about their job. When someone really loves what they’re doing, it’s inspiring — it makes you want to rise to their level. Whether it’s a plumber who’s excited about new PVC piping or a director who’s passionate about their vision, that energy is contagious. So, love what you’re doing and trust that you’re offering something special. - No Doesn’t Mean No Forever
A “no” isn’t the end — it’s just “not this time.” Every audition, every setback is a learning experience. One thing that took me a while to understand is that auditions are acting. For those five or ten minutes in front of a casting director, you get to act. Even if you don’t book the role, you’ve still had the chance to perform. And these days, with self-tapes, it’s a different kind of process, but the principle is the same: treat it as an opportunity to act and showcase your perspective on the role.
This is our final question, our aspirational question. So, John, because of your great work and the platform that you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?
Wow, some intense questions, man. I think for me, it would be about finding peace, love, and empathy. Empathy is such a powerful, transformative tool. It can create inclusion rather than division. A lot of how I’ve approached life is rooted in a longing to understand where people are coming from — their why, their how. You don’t always get the answers, but that pursuit is so important.
We all just want to be free to do what we want to do and love who we want to love. If I could advocate for something, it would be to remind people of that every single day. Empathy leads to understanding, to perspective, and to connection. And I think a lot of good can come from that simple idea.
Well, John, how can our readers continue to follow your work? How can they watch Three Women? How can they support you in any possible way?
They can watch Three Women on Starz streaming. I’ll be randomly posting updates, interviews, and news about any future projects on Instagram — it just kind of hovers out there in the ether. I’d say they can just keep watching the stuff I do and support filmmakers in any way they can. It’s a very strange time right now, so supporting other filmmakers, actors, and creatives really helps the community. Also, read — read about writers and their work, and support them too.
Amazing answer. John, it’s been so nice to meet you.I learned a lot, and it’s nice to connect with a fellow Baltimorian. I hope we can do this again next year.
It was a pleasure, brother. That’d be wonderful.
John Patrick Amedori On Bridging Film, Music, and the Power of Empathy was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.