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History
Kimberly Peirce
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Kimberly Ane Peirce is an American filmmaker, best known for her debut feature film, Boys Don't Cry (1999), which won Hilary Swank her first Academy Award for Best Actress. Peirce's second feature, Stop-Loss, was released by Paramount Pictures in 2008. Her third film Carrie was released on October 18, 2013. In addition to directing and writing, she is a governor of the Academy of Motion Pictures Arts and Sciences and a National Board member of the Directors Guild of America.
Peirce interviewed in 2013
Peirce interviewed in 2013
Boys Don't Cry (1999 film)
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Boys Don't Cry is a 1999 American biographical film directed by Kimberly Peirce, and co-written by Peirce and Andy Bienen. The film is a dramatization of the real-life story of Brandon Teena, an American trans man who attempts to find himself and love in Nebraska but falls victim to a brutal hate crime perpetrated by two male acquaintances. The film co-stars Chloë Sevigny as Brandon's girlfriend, Lana Tisdel.
Hilary Swank had initially lied to Kimberly Peirce about her age. When confronted about the lies, Swank told Peirce "But that's what Brandon would do"
Hilary Swank had initially lied to Kimberly Peirce about her age. When confronted about the lies, Swank told Peirce "But that's what Brandon would do" and she was eventually cast in the film. To prepare for the role, Swank lived as a man for one month.
Chloë Sevigny had initially sought the role of Brandon Teena. Kimberly Peirce, however, believed the actress would be better cast as Lana Tisdel.
Chloë Sevigny had initially sought the role of Brandon Teena. Kimberly Peirce, however, believed the actress would be better cast as Lana Tisdel.
Boys Don't Cry was primarily shot in Greenville, Texas.
Boys Don't Cry was primarily shot in Greenville, Texas.
Brandon's "passage to manhood". Peirce had intended the roller skate scene to be a metaphor for Brandon's formal entrance into masculinity. This image
Brandon's "passage to manhood". Peirce had intended the roller skate scene to be a metaphor for Brandon's formal entrance into masculinity. This image illustrates the dim lighting used throughout the film, giving a particular emphasis on artificial light stemming from the film's focus on confined interiors.