Holly Valance - Film and Television Career

Film and Television Career

As a teenager, in 1999 she was cast in the long-running Australian soap Neighbours as Felicity "Flick" Scully. Valance left the series in 2002 to pursue a music career.

In 2004 Valance returned to acting, this time in the United States, appearing in episodes of the television series CSI: Miami and Entourage. In 2005 she appeared in an episode of CSI: NY. She guest-starred in Prison Break in 2006 as Nika Volek, a role which she continued to portray in the show's second season.

In 2006 Valance appeared in the National Lampoon comedy Pledge This!, alongside American socialite Paris Hilton. The same year, she was in DOA: Dead or Alive, an adaptation of the popular video game Dead or Alive, where she played Christie. In 2007 she appeared in the TV series Shark and Moonlight. In 2008 she had a role in the film Taken alongside Liam Neeson, and appeared in an episode of the The CW series Valentine. In 2009 Valance played Brenda Snow for the video game Command & Conquer Red Alert 3: Uprising. She also appeared in Scott Caan 's film Mercy in which she says one line at the end of the film before inexplicably they changed the actress

She is also set to appear as Angela in the movie Red Herring and as Sally in the upcoming thriller titled Luster.

She appeared in the Miss Marple television episode called "The Pale Horse".

Read more about this topic:  Holly Valance

Famous quotes containing the words film and television, film, television and/or career:

    The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.
    Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)

    Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.
    David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)

    In full view of his television audience, he preached a new religion—or a new form of Christianity—based on faith in financial miracles and in a Heaven here on earth with a water slide and luxury hotels. It was a religion of celebrity and showmanship and fun, which made a mockery of all puritanical standards and all canons of good taste. Its standard was excess, and its doctrines were tolerance and freedom from accountability.
    New Yorker (April 23, 1990)

    Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.
    Lewis H. Lapham (b. 1935)