Acting, Producing, and Music: An Interview With Gina La Piana on Maserati: The Brothers, Working With Legends, and Finding Freedom in Creativity

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With three decades in the entertainment industry, Gina La Piana continues to redefine what it means to be a multifaceted artist. The Brooklyn-born Latina actress, singer, and producer has built an impressive career across film, television, and music — and now, she’s taking on her most ambitious project yet. Gina La Piana joins an all-star ensemble including Al Pacino, Anthony Hopkins, Andy Garcia, and Jessica Alba in Maserati: The Brothers, the Bobby Moresco–directed biopic chronicling the rise of the Maserati family. She portrays Paulina, a Broadway performer from the early 1900s, in what promises to be one of her most captivating roles to date.

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In an exclusive Q&A with Good Star Vibes, Gina La Piana shares how she stays grounded in her passion, the lessons she’s learned across her decades-long career, and why she’s embraced imperfection as part of her creative journey. From producing and songwriting to working alongside Hollywood legends, Gina La Piana’s story is one of reinvention and resilience.

Gina, congratulations on joining the cast of Maserati: The Brothers. Can you tell us what drew you to this project and your role in the film?

Thank you! I’d love to say it was the character of Paulina—a Ziegfeld girl, a Broadway star from the early 1900s, a true goddess of the stage—that pulled me in. Or that the cast is so stellar that it would’ve been impossible to resist. And all of that is true.

But let’s keep it real REAL—I love to work. If I had my way, I’d be on set every single day of my life creating. I’ve worked for 30 years to get to a place where I’m finally landing these kinds of roles, and even now it feels like I’ve only scratched the surface of what I’ve come here to do. My goal has always been to tell important stories and leave behind a legacy of impact. So in the simplest terms, it’s more basic than you might think.

The film chronicles the legacy of the Maserati family. How do you approach portraying real-life stories, and did you do any special research for your character?

I read everything I could from the period. I watched every film I could find. I worked with a dialect coach because Paulina had a touch of that transatlantic sound. But a lot of it comes down to instinct—listening, being present, and playing the action of the scene.

And honestly, when you’re opposite Al Pacino, there’s no “work” involved. You just listen and respond. He makes it easy.

You’ve worked across film, television, and music. How do you balance these different aspects of your career, and do you have a favourite medium to work in?

They’re all the same thing to me—different branches of one passion. I don’t really approach them differently. I water them all with my own curiosity every day. That might mean writing a poem, painting something, dancing around to a song that gets inside me, or putting on clothes from another era.

But if I had to pick a favorite, comedy television is it. Always has been. I was raised on half-hour comedies, and it’s the reason I became an actor. There’s nothing better than making people laugh. I miss live-to-tape shows with a real audience. I want to bring that back. Give me a DJ, give me music after the taping—I want it to be a full night. Comedy, connection, joy. That’s the dream.

Looking back at your early roles in projects like Ali G Indahouse and Baby Geniuses and the Treasures of Egypt, how do you feel your acting style has evolved over the years?

I grew up in this business—film and TV raised me. When I watch some of my early stuff, I cringe. I was a little performer back then, always trying to measure up. There was nothing wrong with it—it was just where I was.

Now it’s different. Age gives you a deeper authenticity. It makes you more raw and vulnerable. I trust myself more, and when you trust yourself, the work gets freer, more fun. I’m less interested in performing and more interested in being.

You’ve also taken on producing projects like Audrey, Stay with Me, and The Deep Ones. How has working behind the camera shaped your perspective as an actor?

Producing changed everything for me. I didn’t step into it because it was “cool”—I stepped into it because I had to. If I wanted to keep working with velocity—for myself and for my friends (to me, they are one and the same)—then I needed to create opportunities. Early on, I was an “it girl” for a minute, and then life happened. A few “interesting” relationship choices, some time passed, and the same momentum and opportunities weren’t flowing the way they once were. That’s when I realized: if you can create, you should.

And when I say produced, I mean I’ve done it all—assistant directing, design, wardrobe, craft services, script supervising. Wearing every hat on a set gave me a respect for the process I never would’ve had by staying only in front of the camera. It taught me patience, humility, resilience, and collaboration—and it deepened the way I show up as an actor. At the end of the day, it’s all work, but the gift is: we get to tell stories. I never had a plan B, and I still can’t imagine a better job or a better life.

We also have to ask: What was it like to work alongside Nicolas Coster, as The Deep Ones was his last official film credit before he sadly passed away?

Nicholas was the kind of actor who changed the whole energy of a room. He was prolific, he was funny, and he always lifted everyone around him. Even on the toughest nights, he never complained. He was the last to leave, the first to make us laugh, and he carried zero ego.

I’m grateful I got to stand beside him, to feel his kindness, and to see how much he loved this work right up until the end. May he rest in peace.

You’ve appeared in some iconic TV shows, including Criminal Minds, The Mentalist, and Everybody Hates Chris. Are there any memorable moments or lessons from these sets that have stayed with you?

Oh, plenty. Every set teaches you something new—sometimes in the most unexpected ways.

On “The Mentalist”, I was playing a young top chef, so I thought I’d better prep like one. I took classes with a real chef, and of course, I tried to show off with some knife tricks. Big mistake—almost lost a finger chopping onions. Let’s just say the real lesson was: you don’t win points for flair if you can’t keep all ten fingers.

On “Criminal Minds”, I was already planning on buying a house, thinking I’d finally landed that series-regular role. At the very next table read, we all learned Mandy Patinkin had quit the show—and my role was tied directly to his. Mandy is so brilliant, I could only be happy for him… maybe just cry for me a little. Lesson? Don’t start decorating before the foundation’s even set.

And then there was “Everybody Hates Chris”. That one was sassy and sexy. They should’ve expanded my character—it would have made the show even better. I’ll never forget when my car died at the Paramount gate, blocking every exec on their way in. The producers laughed so hard, they hired me on the spot—basically to get the hell out of the office and move my car. Best breakdown I’ve ever had.

TV is my favorite medium, so every one of those shows was a blast.

In 2019, you appeared in BET’s American Soul, a drama about the rise of Soul Train. How was it to be part of a project that celebrated such an iconic piece of music and cultural history?

It was an honor, plain and simple. I talk a lot about wanting to work on projects that matter, and this one did. Soul Train was bigger than a TV show—it was history, culture, music, and identity all rolled into one.

I was a kid watching Soul Train with my dad, and I’ll never forget that energy, the music, the movement. It was magic. To step into that world years later, even for a short time, felt like paying tribute to something that shaped not just music history, but my own childhood memories too.

You played Meghan in Under the Influence (previously known as Hipsterverse) for 13 episodes. What was it like developing a character over a longer arc compared to your guest roles in other shows?

It was a blast. The longer we went, the freer I felt. I took big swings with Meghan, and I think it paid off. Comedy is my sweet spot, and that set gave me the space to really play.

The best part was the improvisation. Making my castmates laugh—sometimes until they cried—was pure joy. If I can do something on set that has people falling out, then I feel like I’ve done my job. By the end, it felt like we were all in on the same joke together. I hope the show takes off, because I’d love nothing more than to keep exploring that world.

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You’ve explored storytelling not just through acting but also through music. Do you find that your experiences as a performer in one area influence how you approach the other?

For me, music and acting are the same thing at their core—storytelling. You put your whole heart into it as if it’s the first and only time you’ll ever get to create that moment, because in a way, it is. Whether I’m singing a lyric, crying through a line of dialogue, or making someone laugh, it’s about being fully present and giving everything to that expression.

Life keeps moving. You share it, you let it go, and then you move on to the next story. That’s the beauty of it—each performance is its own little piece of forever.

You released a pop album in 2007 and have recently featured on tracks with Sammy Peralta. What inspired you to return to music, and is it still something you’re planning on exploring? Can fans expect more new music in the future?

Music broke my heart. It’s one of my great loves, but it reminds me of the hardest times of my life. I tied it to my first big relationship, which was toxic, and for years, even listening to music hurt too much.

When I finally let that go, music started to feel like home again. I just played with my dear friend Paul Greene at a senior retirement community, and it was a blast and made so many people smile.

I admire Paul for giving his music away every day, no agenda, just joy.

Me? I have this ugly thing where if I couldn’t do it BIG touring, number-one records—then I didn’t want it at all. It’s sad because when you do that, people miss out on your gift while you’re busy hoarding it.

I pushed as hard as I could in my music career, but what I needed was someone to truly have my back. LA was chaos back then, and I’m grateful I made it out intact. These days, I’m not chasing charts. But yes—I’m still writing. I scored a few pieces for Eyes in the Trees and performed an original in the film with Anthony Hopkins. That’s the kind of music-making that excites me now.

You’re known for portraying strong, complex female characters. What draws you to these roles, and why do you feel they are important?

I’m drawn to complexity because it reflects real life. We all carry pasts filled with choices—some we’re proud of, some not so much. To me, that’s where the beauty lies: in the messiness, the contradictions, the humanity.

This industry has hurt me at times, but it has also healed and rescued me. That’s why I’m so moved by women who aren’t perfect—women who don’t have it all together, who live on the edge, who keep secrets, who save lives even while struggling with their own flaws. Powerful women you love to hate, and hate to love.

Portraying characters like that feels important because they show humanity as it really is: raw, real, wicked, and beautiful. None of it is simple—and that’s exactly why it matters.

With the second phase of filming for Maserati: The Brothers taking place in Rome, what has it been like working internationally, and do you have a favourite filming location so far?

Rome, Rome, Rome. That’s it—that’s the answer. The city is unreal. You walk outside, and it feels like the whole place is daring you to make a movie. History, beauty, food—it’s all there. Hands down, my favorite.

Looking ahead, are there any upcoming projects—whether film, television, or music—that you’re particularly excited about and can share with your fans?

I’ve got a film I’ve been writing for about eight years. First, it was a book—still sitting unpublished—and then it became a screenplay. It’s a friendship fright, part thriller, part emotional ride. I want to direct it, act in it, and pull in some of my favorite people to make it with me. That one feels like it’s been burning a hole in my pocket for too long.

I’m also cooking up another thriller—my favorite genre—that I want to shoot right in my own backyard. The views where I live are insane, the tree-lined streets are ripe with history, and the setting will be perfect. Plus, I want to do all the music for it myself.

So yeah—2026, here I come.

Thank you, Gina La Piana, for taking the time to answer our questions. It’s been wonderful learning more about your creative path and passion for storytelling across acting, producing, and music. We look forward to seeing your performance in Maserati: The Brothers and the exciting projects you have ahead.

Gina La Piana’s journey is proof that artistry isn’t about reinvention for reinvention’s sake—it’s about persistence, truth, and heart. Whether she’s standing opposite Al Pacino, making her castmates laugh, or writing her own stories from the ground up, her work carries an authenticity that can’t be faked. As Maserati: The Brothers heads toward release, it’s clear that Gina La Piana’s fire is only just beginning to burn brighter.

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