such cult stars as Mary Woronov, Alexis Arquette and Joe Dallesandro in a series Propaganda Films had created for Playboy TV (other directors in the series included Bernard Rose and Alexander Payne.) She subsequently directed episodes of Red Shoe Diaries, The Secret World of Alex Mack and other television productions, as well as directing local theater in Hollywood with the Grace Players, a theater troupe led by Natalija Nogulich. Borden was one of four directors involved in the 1995 sex-vignette anthology film Erotique; and she cast a not-yet-famous Bryan Cranston for her segment. "Besides Louise Smith, he was the most game, daring actor I've ever worked with," she said. In 1999, Borden was able to pitch to investors a filmed version of August Strindberg's 1888 play Miss Julie and was in pre-production when director Mike Figgis announced his own version in the trades, and her bank financing collapsed. In 2001, Borden flew to New York City for final script discussions with actress Susan Sarandon for her next film project, Rialto. She and her partners arrived on the morning of 9/11, just in time to witness the World Trade Center collapse. Sarandon immediately joined the relief effort at Ground Zero and the project was put on hold. Since the mid-2000s, Borden has been working as a script doctor in Los Angeles, writing scripts for other directors including one about reggae singer Bob Marley's relationship with mobster Danny Sims (based on Rita Marley's autobiography No Woman No Cry). That project was called Rebels and was announced in 2015 as part of slate of projects by Golden Island Filmworks to begin shooting in 2016. She has worked on some pilots for Fox Television, wrote a play about singer Nina Simone, and continues to solicit financing for her independent projects. Her other works in progress have included editing a book of stories by strippers, Honey On A Razor, and collaborating on a series about strippers with Antonia Crane, author of the memoir Spent. Legacy In February 2016, Anthology Film Archives hosted a week-long revival run of Born in Flames to premiere Anthology's new 35mm restoration of the work, funded by The Film Foundation and the Hollywood Foreign Press Association. The restoration was part of a larger multi-year project, "Re-Visions: American Experimental Film 1975–1990," supported by The Andy Warhol Foundation for the Visual Arts. To commemorate the re-release, The New Yorker remarked, "the free, ardent,