Amanda Plummer

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Birthday:

23 March 1957, New York City, New York, USA

Birth Name:

Amanda Michael Plummer

Height:

163 cm

The daughter of Canadian actor Christopher Plummer and American actress Tammy Grimes, Amanda Plummer was born in New York City on March 23, 1957. Her breakthrough role came when she starred opposite Robin Williams in The Fisher King (1991). However, Plummer may be best remembered for her work in the Quentin Tarantino classic Pulp Fiction (1994). Tarantino wrote the parts of two robbers who hold up a restaurant specifically for Plummer and her partner-in-screen-crime Tim Roth. Since that stand-out role, Plummer has continued to appear in a wide variety of films, including The Prophecy (1995), Freeway (1996), and My Life Without Me (2003).Plummer has also appeared in the films Butterfly Kiss (1995) as "Eunice" by Michael Winterbottom, My Life Without Me (2003) by Isabel Coixet, Pax (1994) by Eduardo Guedes, Daniel (1983) by Sidney Lumet, Ken Park (2002) by Larry Clark and, lately, The Making of Plus One (2010) and Inconceivable (2008) both by 'Mary Mcguckian', among others.She has often performed on stage. Her highly acclaimed work on Broadway has garnered her a Tony award and two Tony Award nominations as well as the Outer Critics Circle Award and Drama Desk Award. She was honored with three Emmy awards, and one Emmy nomination, a Saturn Award, and DVDX nomination, CableAce Award and Golden Globe nomination. In 1988, she was honored with the Anti-Defamation League Award for Woman of Achievement.On stage, Plummer appeared as Alma in Tennessee Williams's "Summer and Smoke" with Kevin Anderson, directed by Michael Wilson. At the Stratford Theater in Ontario, she was Joan of Arc in an original adaptation of "The Lark" by Jean Anouilh, directed by Michael Lindsay-Hogg. She appeared as Polly in "The Gnadiges Fraulein" with Elizabeth Ashley, and as Kyra in the world premiere of "One Exception", both by by Tennessee Williams, at the Hartford Stage. On Broadway: "A Taste of Honey" as Jo (nominated for a Tony Award, and Drama Desk Award, and received the Outer Critics Circle, and Theatre World Awards); as Agnes in "Agnes of God" with Geraldine Page (Tony Award, Drama Desk Award, Outer Critics Circle, and Boston Critics Awards); as Eliza in "Pygmalion" with Peter O'Toole and John Mills (Tony Award nomination); as Laura in "The Glass Menagerie" with Jessica Tandy; as Dolly in "You Never Can Tell" by George Bernard Shaw. Among her off-Broadway shows are "A Lie of the Mind" as Beth, directed and written by Sam Shepard with Harvey Keitel, Aidan Quinn and Geraldine Page, "Killer Joe" by Tracy Letts, "The Milk Train Doesn't Stop Here Any More" by Tennessee Williams, and "A Taste of Honey" with Valerie French. In England, at the Guilford Theatre she appeared as Eliza Doolittle in "Pygmalion," and at the Royal Court Theatre did "This Is a Chair", directed by Stephen Daldry and written by Carol Churchill.Her regional work includes Juliet in "Romeo & Juliet" (Hollywood Dramalogue Award) and Sonya in "Uncle Vanya," Frankie in "A Member of the Wedding," "Two Rooms," and "The Wake of Jamey Foster" by Beth Henley.In television, she is the recipient of three Emmy Awards, one Emmy nomination, a Cable Ace Award, and a Golden Globe nomination. She appeared as Lucky in the filmed workshop, "Core Sample - Goli Otok" with Vanessa Redgrave and Lynn Redgrave, directed by Lenka Udovicki, the artistic director of The Ulysses Theater on Brijuni, Croatia, and also in Lucky McKee's film Red (2008). Show less «

I like devilish, thorny, dirty, mean roles, muck and mire, unbelievably sad, unbelievably happy, burdened. Inner conflict - that's where dra...Show more »

I like devilish, thorny, dirty, mean roles, muck and mire, unbelievably sad, unbelievably happy, burdened. Inner conflict - that's where drama is. Show less «

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind suc...Show more »

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way. Show less «

I like taking a path into new country, and I always take the darker path. Not because it's dark, but because there's a secret there that you...Show more »

I like taking a path into new country, and I always take the darker path. Not because it's dark, but because there's a secret there that you can share when you get out. That's what I liked as a kid. That's how I approach my work. With a face like mine, it's lucky I have a heart that likes that. Show less «

I don't find anything interesting about the choices a character faces in major films or theater projects. The characters are just cut-out do...Show more »

I don't find anything interesting about the choices a character faces in major films or theater projects. The characters are just cut-out dolls with the American flag sewn on them. Show less «

I don't play roles everybody likes. I'd rather have a career I'm proud of. Like everyone else, I need to eat. But I'm a very unbusinesslike ...Show more »

I don't play roles everybody likes. I'd rather have a career I'm proud of. Like everyone else, I need to eat. But I'm a very unbusinesslike person, and I keep my price low. I'm not a mass product. I'm not everyone's cup of tea. Show less «

I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in ...Show more »

I prefer theater, but I love to do films, and I prefer theater primarily because I've done more. I know less about movies. You can't lie in either medium. The wonderful thing is that the camera, just like an audience, is made out of skin - because celluloid is skin. Show less «

I had a strong propensity, which I still have, to be invisible. In grade school, I'd try to disappear and become formless. I lived in a very...Show more »

I had a strong propensity, which I still have, to be invisible. In grade school, I'd try to disappear and become formless. I lived in a very imaginary world. I loved poetry and wrote my first novel when I was 9. It was about a little girl and the people she met in the woods. Show less «

Before college, I acted in my room, to classical music, because music tells stories. I'd put on a record and proceed, silently. I'd keep put...Show more »

Before college, I acted in my room, to classical music, because music tells stories. I'd put on a record and proceed, silently. I'd keep putting the needle back to a certain segment because I hadn't died well enough. I had to really, really feel dead. I'd love to do a death scene. Show less «