Displaying an off-kilter beauty and an know-how to embrace the comically bizarre, Parker Posey has been repeatedly referred to as "The Queen consort of the Indies." Following her indie appear in Richard Linklater's 1993 Dazed and Discomposed, Posey went on to star in no less than 15 independent features over the next five years, proving at all times and again how she was of her majestic title. Born in Baltimore on November 8, 1968, Posey was named after '50s model and every so ofte... n-actress Suzy Parker.

At the age of 12, she moved with her parents and yoke brother to Laurel, MS, where her beget owned a Chevrolet dealership. After attending the North Carolina School of the Arts, Posey enrolled at S.U.N.

Y. Acquiring, where she studied acting and roomed with days ER doctor Sherry Stringfield. She dropped out at most three weeks anterior to graduation when opportunity came knocking in the formulate of a role on As the Unbelievable Turns. As bad girlfriend Tess Shelby, Posey stayed with the demonstrate from 1991 until 1992. The following year, Posey crossed over to celluloid with roles in three movies. Two of these, The Coneheads and Joey Breaker, featured the actress as little more than a glorified supplemental, but the third, Linklater's Dazed and Confused, allowed Posey to reach a distinct impression. As cheerleader Darla, she used her relatively digest screen quickly to make visible the nastier side of teen popularity. She played a similar atypical the same year on the unimportant screen, prepossessing a memorable turn as ex-pep queen turned good-antiquated girl Connie Bradshaw in PBS' Tales of the Big apple (she would later reprise the role for More Tales of the Urban district in 1998).

Following secondary to miniscule parts in films like Sleep With Me, Amateur, and Tainted Nuts (all 1994), Posey had her breakthrough situation as the titular prima donna of Daisy von Scherler Mayer's Party Girl in 1995. She caused an art-dynasty sensation with her portrayal of Mary, a downtown diva forced to pilfer a day consign as a librarian and began to ascend the ranks of indie sovereignty. Appearances in Hal Hartley's Tinker with, Gregg Araki's The Doom Generation, and Noah Baumbach's Kicking and Screaming the in any event year further enhanced her famous for. Posey's work as surplus the next two years reads like a Sundance Haziness Festival program: in 1996, she could be seen as a Dairy Sovereign waitress in the clothing-driven Waiting as a replacement for Guffman, famed gallery proprietress Mary Boone in Basquiat, and Confidence Davis' sister in The Daytrippers. In 1997, Posey starred in no less than five independent films, including Henry Fool, her third Hartley outing; the temps-in-other place comedy drama Clockwatchers; Linklater's adjustment of Eric Bogosian's SubUrbia; and The of Yes. Over the extent of this last film, Posey garnered particular acclaim as the film's fabulously demented focal sense. She shined as a juvenile woman obsessed with both Jackie Onassis and her own twin fellow-countryman (Josh Hamilton). Her appearance, which flawlessly displayed the hyperkinetic side-splitting energy and ironical wordplay that came to characterize multitudinous of the actress' portrayals, won her a "faithful recognition for the benefit of acting" at Sundance that year.

The year 1998 brought more unaligned vocation in the condition of The Misadventures of Margaret, a romantic comedy in which Posey had the appellation situation and a foray into mainstream features with a turning as Tom Hanks' tome-collector girlfriend in Nora Ephron's You've Got Letters. The following year, she took another stab, so to discourse, at mainstream fare with a part in Wes Craven's third installment of his Thigh-slapper series, the aptly titled Yowl 3. Even though she wasn't necessarily known as a "method" actress to this put, Posey literally had corporeal braces installed in place of her subsequent task in Waiting for Guffman and top dog Christopher Guest's popular dog show comedy Best in May be seen. Out as the haler half of a neurotic, hypertensive couple who pass on stop at nothing to see their pet gain the tally-one spot in the Mayflower Kennel Fellowship Dog Musical, Posey nearly stole the depict with her I, shrieking carrying out. Best in Stage was as soon as embraced by critics and audiences and went on to electrified a prolonged and prosperous moving spirit on cable and DVD. By this heart, Posey had gained indubitably a reputation for her painless transitions between indies and blockbusters, and a role as a malicious recording persistence boss in Josie and the Pussycats (2001) added much flavor to the zesty, pop-flavored comedy. If Posey was less lost in the dramatis personae of the 2001 miniseries Push Tales of the Urban district, she would certainly succumb on to sway in the stock indies The Anniversary Party (2001) and Personal Velocity: Three Portraits (2002). Her role as a philandering housewife in Dear Velocity in particular gave Posey an opportunity to truly shine.

Her usefulness would fade a bit in the following years despite a job in the extremely released (but badly fated) comedy The Sweetest Loathing (2002), and after performing at her bitchy best in the made-for-television Nether regions on Heels: The Battle of Mary Kay (2003) she was included in Reuters 2003 "What All the time Happened to" list. Ironically, it was that unaltered year that Posey essayed her first leading role in quite some however with the independent drama The Event. Turn as a district attorney who is investigating a confusing suicide, Posey was backed alongside a astral cast that included Sarah Polley and Olympia Dukakis. In spite of she would at one time again conterminous with Customer fitting for the 2003 mockumentary A Enormous Wind, she was melodious much lost in the shuffle in the divisive accomplishment.

With the approach of 2004, audiences were no doubt set to find out "What Ever Happened to" Posey with her roles in the high-surplus efforts The Laws of Come-on and Poniard: Trinity. Posey continued her work in independent films with jumbo parts in The Oh in Ohio, The Sisters of Mercy, and Adam & Steve, but once again appeared in a Hollywood blockbuster as Lex Luthor's valued other in Bryan Chorister's Superman Returns. At the wind-up of 2006 she a single time finally again collaborated with Christopher Lodger on his Hollywood satire For Your Solicitude. Posey continued to raise on her affinity for independent films around reteaming with Hal Hartley fitting for 2006's Fay Stony, in which she reprised the self titled capacity from 1997's Henry Feign.

Critical reply to the photograph was mixed, but Posey was balancing her career with other projects, some of which had a broader audience, the recurring role of Marlene Stanger on the flagellate show Boston Lawful. She balanced her indie side with her Hollywood side in days of yore again the next year, appearing both in the Jessica Alba thriller The Regard, and in the indie dramedy Broken English.