Anne Richardson

It all started when…

Anne went to her first voice coaching with renowned Broadway actor Judy Blazer. She took one look at Anne and said, “Honey, you need to be on camera.” She’s been on or behind one ever since… Anne Richardson is an award nominated actor, screenwriter and filmmaker in New York City.  She’s a member of the Obie and Drama Desk award winning theater company The Barrow Group, a friend and fellow of the LAByrinth, a Episodic Lab semi—finalist at Sundance and Screen Craft, and a screenwriter for Lifetime and The Hallmark Channel with a real knack for mysteries, thrillers and rom-coms.  Anne wrote and directed her first film “I’ll Hide, You Seek” under the guidance of legendary producer Michael Hausman (Academy Award for Amadeus).  Available on www.sofy.tv. A lifelong learner, Anne continues to study film with Annette Insdorf and Mike Hausman at Columbia Film School and directing with Seth Barrish and Lee Brock at The Barrow Group.  Anne and her husband Jonathan Hansen (a designer and artist) live New York City with their 13 year old son, who believes that it is the center of the universe.  She nor her husband will ever argue with his sentiment.  With an insatiable love of storytelling and conviction for social justice, Anne has a passion for inclusive stories that dig deep into human characters while challenging social thought.

Actor

Anne Richardson is known for her ability to move gracefully between comedy and drama – on stage, on screen and in her filmmaking and writing.  She is a long-time member of The Barrow Group (Drama Desk & Obie Award Winning Theatre) having played numerous roles there including Cathy in Craig Wright's ORANGE FLOWER WATER and originating the role of Gillian in Arlene Hutton's 40 STAT 70.  Anne is a 2007 LAByrinth Theatre Company Artistic Fellow.  Her first film BLINDNESS (lead) went to Cannes and garnered her a Best Actress Nomination in the Tenerife Film Festival. She is also one of the top commercial actresses in her category. 

Screenwriter

No matter comedy, dramedy or drama, Anne explores deep feelings of loss and disconnection in relationship, all the while believing in the power of love, creativity and imagination to win in the end.

ON AIR

My Escort Best Friend (Lifetime Original Movie, 2021) Trailer

Murder in the Vineyard (Lifetime, 2020) Trailer

Baby Obsession (Lifetime, 2018) Trailer

I’ll Hide, You Seek (Sofytv, Big Apple Film Festival, Award Winner, My Hero International, 2018) Trailer

My True Love's Wedding/Forever in My Heart (Hallmark Channel, story by) Trailer

IN DEVELOPMENT

Deliver Me: 1988 (film, psychological thriller)

log line: October 1988. After a young doctoral candidate with a traumatic past is rescued from a car crash while on the way to meet a new love interest he met through a personal ad, he comes to realize the doctor who rescued him is his worst nightmare.  A religious fanatic with terrifying agenda.

The Big Texas Murder Mystery (film, murder mystery, Sundance Writer’s Lab Semi-Finalist)

log line: A 20th Wedding Anniversary celebration goes to hell in a hand basket, when a group of Texas Billionaires, their wives and staff become trapped in a Hill Country mansion and the bodies start piling up.

Manahatta (film, supernatural thriller)

log line: A couple comes face to face with their worst fears, when their son is taken by an evil and ancient spirit living in the underbelly of their new apartment buidling.

Interior (tv pilot - drama, Bluecat Episodic Semi-finalist)

log line: February 1981.  A rising star of interior design with unorthodox methods awakens the deepest truth in others, while living as authentically as he can in a double life.

Thrift Ladies (tv pilot - comedy, workshopped at The Barrow Group, starring Anne Richardson, Lynn Cohen & Deidre Goodwin)

log line: In a city like New York, you wanna go where everyone knows your name, has your back, and maybe even score a pair of sweet used pair of Manolos...

Director

To me, directing a film is like playing jazz.  There is form and structure, a clarity in the story we are telling, but there is also freedom to discover and be surprised by what comes out of the "letting go."  Creating a safe space for all players - both in front of and behind the camera - helps us let go into the story and see what’s there.  And what’s there is usually much deeper and richer than anything that I could do on my own or try to control.  This is what excites me most as a director, the spontaneous “magic” in being so clear about story, and then letting go, trusting it and everyone involved to tell it with freedom, confidence and grace.