Moore was born in Roswell, New Mexico. As a child, she had a difficult and unstable home life. Her parents split up before she was born, with Virginia Guynes leaving Demi's biological father, Charles Harmon, Sr., and marrying Dan Guynes, a newspaper advertising salesman who frequently changed jobs; as a result, the family moved a great many times.
Demi Moore was born on 11 November 1962 in Roswell, New Mexico, United States.
Studies with Zina Provendie
After working on TVs General Hospital, she got into movies in the early 1980s, married Bruce Willis, had two children, and generally hustled herself to the forefront: Choices (81, Sihio Narizzano); Parasite (82, Charles Band); Young Doctors in Love (82, Garry Marshall); Blame It On Rio (84, Stanley Donen); as a singer in No Small Affair (84, Jerry Schatzberg); St. Elmo's Fire (85, Joel Schumacher); About Last Night (86, Edward Zwick); One Crazy Summer (86. Savage Steve Holland); Wisdom (86, Emilio Estevez); pregnant and threatened in The Seventh Sign (88, Carl Schultz); We're No Angels (89, Neil Jordan); riding the hit of Ghost (90, Jerry Zucker); excellent and touching in Mortal Thoughts (91, Alan Rudolph); blonde in The Butcher’s Wife (91, Terry Hughes); Nothing But Trouble (91, Dan Akroyd); wasted in A Few Good Men (92, Rob Reiner).
She was the wife open to Indecent Proposal (93, Adrian Lyne), a movie that drew upon the ghost of a computer behind her fully sexed but tough stare. The film was so listless and underdone, at $1 million the actress seemed overpriced.
She was a far more flagrant sexual aggressor, ravishing Michael Douglas, in Disclosure (94, Barry Levinson). She helped produce Now and Then (95, Lesli Linka Clatter), and then went out for big acting in the risible The Scarlet Letter (95, Roland Joffe). She was at a perilous point. The Juror (96, Brian Gibson) was routine, but for Striptease (96, Andrew Bergman) she offered her all (for a record $12 million), and showed that the bod was still awesome. It was more than the public wanted, though, and G.I Jane (97, Ridley Scott) was a more hysterical assertion of physical splendor. She was in Deconstructing Harry (97, Woody Allen). The marriage to Willis broke up. And she did Passion of Mind (00, Alain Berliner) as if to prove that she had her sixth, and seventh, senses, too. But no dramatic sense. At present if is not quite clear if she is active, resting, or just out of it.
In the January-February 1993 Movieline, asked to assess her “position in the business right this second,” Demi Moore said, “That’s tough. I’m probably in a better position than I’ve ever been thus lar, okay? I think people in the business are certainly interested in doing business with me.” Gone are the days of longing to be alone, of cute answers and wistful smiles. Today an actress can sound as if she’s in plastics (and Moore’s voice is as harsh as unfinished polymer). And Demi Moore is a very keen purveyor of her own image. Despite some good movie work, it is likely that the public’s most immediate sense of Demi Moore is still vested in two images—the covers she did for Vanity Fair, one nude and pregnant, the other nude and painted. Further, these covers were not simply Tina Brown’s wit and wisdom. Demi Moore consented to them, and kept as much control as she could contrive.