|This Film is Not Yet Rated||2006||Actor||Interviewee||20067|
|The Life and Death of Teena Brandon||2000 1999 - 2000||Actor||Interviewee||20007|
|Miss Ruby's House||1993||Actor||Movie Patron||19937|
|Boys Don't Cry||1999||Director||n/a||4|
|The L Word||2006 2006||Director||n/a||4|
|Boys Don't Cry||1999||Screenplay||n/a||1|
|Greetings From Africa||1996||Assistant Editor||n/a||1|
|Co-wrote (also directed) the war drama, "Stop-Loss"|
|Edited Shawn Atkins' experimental 16mm animated film "Anastasia and the Queen of Hearts"|
|Directed a short film based on the rape and murder of Brandon Teena, "Take It Like a Man"|
|Moved around frequently while growing up, lived in Pennsylvania, Florida, Puerto Rico and Chicago|
|Assistant editor of Cheryl Dunye's short "Greetings From Africa"|
|Feature directorial debut, "Boys Don't Cry"; also co-wrote with Andy Bienen|
|Worked in Japan as an English teacher and a model to fund her undergraduate education|
|Helmed the experimental 16-minute short "The Last Good Breath"; screened on the festival circuit|
|Participated in the Filmmaker's Lab at the Sundance Institute to work on "Boys Don't Cry" (then titled "Take It Like a Man")|
|Directed an episode of the Showtime television series "The L Word"|
|University of Chicago|
|Miami Sunset High School|
|Peirce on necessarily toning down the violence in "Boys Don't Cry": "By its nature, the film reduced the reality Brandon faced. The real story is a kind of horror that I think few people will ever know" - From The Los Angeles Times, Sept. 12, 1999|
|"This story had been covered so sensationalistically, and people were making Brandon into an icon, so I knew that what I needed to do was enter as deeply as possible into his character. And I thought that the heart of that was actually to be inside of his desire. I didn't want to reduce it to questions like 'Was he a lesbian?' or 'Which came first, wanting to be with women or wanting to dress like a boy?' I wanted to be deeply inside his experience, and that's why I chose a lot of close-ups, that's why the color is saturated, that's why you start the movie in his bedroom [with him] looking at himself in the mirror - that's like the birth of Brandon. What I really wanted to do was bring the audience in and allow them to enter into a pretty epic tragedy, but on a really, really human level [in order to] bring Brandon to life. And to see the world as he saw it." - Peirce on her "Boys Don't Cry" filmmaking approach in Filmmaker magazine, Fall 1999|
|"I identified with Teena. Probably the re-telling of Teena's search for family was about my own search for a family. And her drifting reflected my own moving around. Making herself into the fantasy she had of herself is something I related to as a filmmaker. I make sense of my own life by what I write about and what I make movies about. This film is very autobiographical, really. I used myself to understand my characters more deeply." - Peirce on "Boys Don't Cry" quoted in Moviemaker magazine, December 1999|
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