Motion Pictures
Tomlin made her dramatic debut in Robert Altman's Nashville, for which she was nominated for an Academy Award for Best Supporting Actress; she played Linnea Reese, a straitlaced, gospel-singing mother of two deaf children who has an affair with a womanizing country singer (played by Keith Carradine). The Oscar that year went to Lee Grant for her role in Shampoo. A comedy-mystery, The Late Show, teaming Tomlin with Art Carney, was a critical success in 1977. One of the few widely panned projects of Tomlin's career, however, was 1978's Moment by Moment, directed and written by Wagner, which teamed Tomlin in a cross-generational older woman/younger man romance with John Travolta.
Tomlin soon had the greatest hit of her film career with 1980's Nine to Five in which she played a secretary named Violet Newstead who joins coworkers Jane Fonda and Dolly Parton in seeking revenge on their monstrous boss, Franklin M. Hart, Jr., played by Dabney Coleman. The film was a huge success and one of the year's top grossing films. Tomlin then starred in the 1981 science fiction comedy The Incredible Shrinking Woman, a send-up of consumerism, and was the sickly heiress in the comedy All of Me opposite Steve Martin.
Tomlin and Bette Midler played two pairs of identical twins who were switched at birth in the 1989 comedy Big Business. Tomlin also played chain-smoking waitress Doreen Piggott in Altman's 1993 ensemble film Short Cuts, and, in two films by director David O. Russell; she appeared as a peacenik Raku artist in Flirting with Disaster and later, as an existential detective in I ♥ Huckabees. In 2007, a video recording surfaced showing Tomlin and Russell in a heated exchange over the shooting of a scene in Huckabees.
She collaborated again with director Robert Altman in what would prove to be his last film, A Prairie Home Companion, playing Rhonda Johnson, one half of a middle-aged Midwestern singing duo with Meryl Streep.
Read more about this topic: Lily Tomlin
Famous quotes containing the words motion and/or pictures:
“The motion picture is like a picture of a lady in a half- piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.”
—Raymond Chandler (1888–1959)
“I am big. It’s the pictures that got small.”
—Billy Wilder (b. 1906)