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Bio:
Date of birth (location)
26 May 1949
Winston-Salem, North Carolina, USA
Pam Grier has been a major African American actress from the early seventies. Her career started back in 1971 when Roger Corman of New World Pictures launched her into Big Doll House, The (1971), about a woman`s penitentary and Big Bird Cage, The (1972). Her strong role put her into a five year contract with Samuel Z. Arkoff of American International Pictures and from then Grier became a leading lady in action films such as two of the Jack Hill films: Coffy (1973) and Foxy Brown (1974), and the comic strip character Friday Foster (1975) and the William Girdler film Sheba, Baby (1975). She continued work with American International where she portrayed William Marshall`s vampire victim in the `Blacula` sequel, Scream, Blacula, Scream! (1973).
During the eighties she became a regular on "Miami Vice" (1984)and played a supporting role as an evil witch in Ray Bradbury`s and Walt Disney Pictures Something Wicked This Way Comes (1983) and then returned to action as Steven Seagal`s partner in Above the Law (1988). Her most famous role of the 90s was probably Jackie Brown (1997), directed by Quentin Tarantino, which was a homage to her earlier 70s action roles, but she occasionally did supporting roles as in Tim Burton`s Mars Attacks! (1996), In Too Deep (1999) and her funny performance in Jawbreaker (1999). More recently she appeared in John Carpenter`s _Ghosts of Mars (2001) and co-starred with Snoop Dogg in Bones (2001). Her entire career of over thirty years has brought only success for this beautiful and talented actress.
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Quotes:
"I do a movie once every four years and they call it a comeback."
"I did it to gain confidence and raise money for tuition. My mother said it was one of the best ways to overcome my shyness and other things I had grown up with. So, as far as the beauty pageants, I never went in thinking, "You`re an African-American woman, so you`re never going to win." I was just in it for the experience, and to show my brains and talent and help break stereotypes. It wasn`t like, "Oh, I`ll become a star. I`m beautiful." I never thought I was pretty. I couldn`t even put on eyelashes or makeup. When you come from an environment that`s military, and they don`t stress that topic of aesthetics or beauty pageants and makeup, there are a lot of things you just don`t have that city girls have. Or the country girl who goes to movies and dreams of going to Hollywood as an actress. Not too many sisters at that time dreamed about becoming actresses. You`re still a member of the Black Panthers, you`re still trying to vote, you`re still trying not to get run off the road or stopped or frisked."
"We had so many kids in our family that if we all got in front of the mirror and were ashamed of browns and golds and yellows and whites, and we believed what society told us-that the darker people were less attractive and the lighter ones were prettier-we would have had inter-family sibling murders. So we didn`t stress that in our family. It was character, and having your limbs. My family, being half-rural and half-military, just came from a different place. - talking about family."
"Roger Corman was looking for an in-your-face, radical kind of natural actress who hadn`t been pampered and frosted with wigs and blue eye-shadow. And one of my jobs happened to be at an agency where he was having trouble finding an actress. So people said, "You`re tough and you`re a military brat, you keep us in line. Why don`t you go up there?" And I`m in film school, so I really have to sock away my money for school, tuition, and so on, and I really don`t have time. I don`t want to be an actress, because I think that they have to be really pretty, and I`m not. So they say, "We can offer, like, $500 a week," and I`m saying, "I`m working three jobs and bringing home half that!" I guess they liked my attitude. The next thing you know, I`m doing a film in the Philippines, guerrilla filmmaking at its best, with a director named Jack Hill. He had a European sensibility to film, and so did I, and when it came to nudity, we`re thinking about Fellini and Kurosawa and Bertolucci. You`re not thinking about some sort of Victorian handicap called, "Don`t show your breasts, it`s considered indecent. - talking about Roger Corman."
"The masses enjoyed it. They enjoyed seeing a female hero. And then some of the more conservative people said, "Couldn`t you have done something else? Couldn`t you have played a nun? Couldn`t you play Mother Mary, or something more conservative?" And I said, "You guys are so fragmented that nobody`s going to come. Nobody`s going to see those movies." The way things are right now, they want to see action, they want to see heroes and heroines. And if you`re not that, you`re an art film, and if you were black, then you weren`t going to be in that art film. If you were black, you may not get to do theater. So you`re marginalizing yourself even further, and you`re not going to get the experience, and you`re not going to break down stereotypes. Although at the beginning, my ambition was never to break down doors. It was just to earn tuition for myself and work in an industry where women hadn`t been allowed or invited. That`s all I wanted to do, not thinking that I would make waves, change minds, excite people, incite people, turn on people, repulse people. We`ve got $20 million actresses today who are nude in Vanilla Sky, nude in Swordfish. So what did I do different? I got paid less, but that`s it. And if you see it as an art form, what`s the problem? You know what it`s rated, and you know what you`re going to see, because the critics tell you. So if it offends you, don`t go. - about her movie."
"I`m still trying to do films about black women. Angela Bassett finally did a film about Rosa Parks, but look how long it took for that to get done. Why didn`t somebody do Rosa Parks sooner?"
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