TCM Archive Materials VIEW ALL ARCHIVES (0)
|Also Known As:||Died:|
|Born:||November 16, 1954||Cause of Death:|
|Birth Place:||Ashland, Kentucky, USA||Profession:||Director ...|
Received a Nicholl Fellowship in screenwriting from the Academy of Motion Picture Arts and Science in 1986.
According to Elle (July 1996), Anders once "did phone sex to finance a project and could do it again."
"When I was a teen-ager, everybody told me being an unwed mother was going to ruin my life. And in fact it was my opportunity." --Allison Anders to The New York Times, July 26, 1992.
"There's a certain kind of feminist who doesn't like my stuff. And there's enough of 'em to to, you know, bum me out. But I always felt like feminism was about empowering yourself by knowing yourself. And that means not just exploring work, but also relationships and desire. But for some reason, there's this attitude--which is changing a little bit--that if you're looking for intimacy with a man, that's like selling out your feminism, which I think is so bizarre. In Hollywood, you can do two types of women characters: the objectified female, who's always saying something smart, or the butch female. I feel like we encountered that a couple times making this film ('Grace of My Heart')--people wanted Denise to behave more like a guy. You know, being bitter and aggressive, as though somehow that's strength that's very male." --Allison Anders in Time Out New York, September 11-18, 1996.
"The first record I bought was 'Johnny Get Angry' by Joanie Sommers, a good start for a feminist: 'I want a brave man/I want a cave man' . . . I learned to write female characters from Paul McCartney's songwriting. I'm amazed at how he gets into women's minds: a young woman going her own way in 'She's Leaving Home', or a lonely old woman in 'Eleanor Rigby'--and 'For No One', the most incredible example, where the guy being dumped chooses to get inside her feelings, writing the song from her point of view. My other favourites were The Shangri-Las: those amazing narrative songs about rebellious teenagers. I love the voiceover on 'I Can Never Go Home Any More', it's so melodramatic, pure Douglas Sirk. I'd study the sleeves of my favourite records for hours and wonder who these people (Barry-Greenwich, Goffin-King) were. When Carole King's 'Tapestry' came out, you could suddenly connect her to the writer of 'Will You Love Me Tomorrow'." --Anders to Sight and Sound, April 1997.
Please support TCMDB by adding to this information.Click here to contribute