“The Last Showgirl”: Pamela Anderson. The problem was, Anderson’s then agent didn’t bother to forward the script about a 50-something Vegas dancer strugglingto pivot to her next act. “He threw it in the trash within the hour and never called me,” Anderson says of her former representative. “This was not an agent.
He was just someone who brought me work for money.” Undeterred, the film’s director, Gia Coppola, tracked down Anderson’s son Brandon through mutual friends, and he promised to pass the screenplay along to his mother, who had largely given up on acting and moved to British Columbia. “I remember coming out of my garden, getting a message from Brandon and sitting at my computer and reading it.
And I thought, ‘This is it,’” Anderson recalls. “This is my opportunity to pour my entire life experience into something, a woman who is so well written, well rounded, flawed, interesting, complex.
It was just a breathtaking piece of work. I’ve never had that feeling before.” Less than a year later, Anderson was shooting the movie that finds her in the thick of the awards-season conversation for the first time in her iconic career, landing Golden Globes and SAG best actress nominations.
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