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Paulo was born in Lawrence, Kansas but as a kid he didn't get to stay in one place very long. His father was a filmmaker (who eventually returned to his native Costa Rica) while his mother worked for the United Nations in developing countries. He lived surrounded by everything from great wealth to deepest poverty, from isolated rainforests to modern bustling cities. The real spark for Paulo was not his father teaching him how to edit film as a little boy (though that probably helped), but seeing the diversity of life around him and wanting to understand and communicate the strange stories he saw.
At age eight he was picked randomly on the street for his first ever gig: a featured role in a Nicaraguan tv series. He memorized his lines in an hour and thought that made him a good actor. By fourteen he had settled back in the U.S. for good and found a love of the stage. He would go on to study theater at Princeton. Now based in New York, he has worked both in classic and contemporary theater with companies such as Russian Arts Theater & Studio, Ensemble Studio Theater and Classical Theatre of Harlem. He has been lucky enough to travel for acting, both nationally and internationally as far away as Ordu, Turkey. He has performed in films screened at dozens of theater festivals nationally and abroad. In television this year he could be seen in a lead role in My Crazy Love on Oxygen.
His greatest mentors have been Nancy Gabor, Aleksey Burago, and Chuck Mee. Paulo was a student of Gabor's at Princeton. She was a disciple of Joseph Chaikin at the Open Theater and taught Paulo the basics of being open and available that has stayed with him ever since. She went on to direct him twice in New York and has has always been someone Paulo checks in with on his progress both as an actor and as a person. Burago was a student of Peter Phomenko at the Moscow Academy. He and Paulo met when Burago cast him in a traveling children's show. They would go on to work together in Checkhov and Moliere and Paulo worked privately with him as a student for years. Paulo's work changed dramatically while working with Burago, honing technical skills and sharpened script analysis from the Russian tradition. Chuck Mee taught Paulo playwriting at Princeton and would go on to consult on a production of his adaptation of the Bacchae in which Paulo played Dinoysus. Chuck taught him a simple lesson that it took him years to drill in to his head: there is no good or bad, there's just what you like and having the guts to put it out there. A recent mentor in his transition to screen has been Brian McManamon; there's no one better at cutting down the extra and leaving you only with what you really need to tell a story. Paulo would like to thank them all from the bottom of his heart.
Outside of performing Paulo has always been interested in building things. He got a second degree from Princeton in Computer Science and once built an entirely new messaging platform for fun. He is constantly trying to automate the mindless tasks in his life and there is concern he will soon try to Rube Goldberg up his breakfast like Pee Wee Herman (or Wallace from Wallace & Gromit). Paulo also loves to write and produce and do all the little things that help more art grow into the world. Finally, Paulo always makes sure he gets time in with his dear friends who keep him balance and keep everything in perspective.