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In 2003, de la Tour played a terminally ill gay woman in the film Love Actually, although her scenes were cut from the film's theatrical release, and appear only on the DVD.
In 2005 she played Olympe Maxime, headmistress of Beauxbaton's Academy, in Harry Potter and the Goblet of Fire, a role she reprised in Harry Potter and the Deathly Hallows – Part 1 (notable in that her character was not present in the novel). In December 2005 she starred in the London production of the highly acclaimed anti-Iraq War one-woman play Peace Mom by Dario Fo, based on the writings of Cindy Sheehan.
In 2012 she was in the film Hugo.
She won a Drama Desk Award and a Tony Award in 2006 for her work in The History Boys on Broadway.
She was nominated for the 2006 BAFTA Award for Actress in a Supporting Role for her work on the film version of The History Boys.
She appeared in Tim Burton's 2010 Alice in Wonderland as Aunt Imogene, a delusional aunt of Alice's, opposite Johnny Depp, Anne Hathaway, Helena Bonham Carter and Mia Wasikowska. Also that year, she had a supporting role in the film The Book of Eli, directed by the Hughes brothers.
Up until 2012, she was also a Patron for the Performing Arts group Theatretrain.
Politically, de la Tour is a socialist and was a member of the Workers' Revolutionary Party in the 1970s.
Read more about this topic: Frances De La Tour
Famous quotes containing the word activity:
“Who shall set a limit to the influence of a human being? There are men, who, by their sympathetic attractions, carry nations with them, and lead the activity of the human race. And if there be such a tie, that, wherever the mind of man goes, nature will accompany him, perhaps there are men whose magnetisms are of that force to draw material and elemental powers, and, where they appear, immense instrumentalities organize around them.”
—Ralph Waldo Emerson (1803–1882)
“To play is nothing but the imitative substitution of a pleasurable, superfluous and voluntary action for a serious, necessary, imperative and difficult one. At the cradle of play as well as of artistic activity there stood leisure, tedium entailed by increased spiritual mobility, a horror vacui, the need of letting forms no longer imprisoned move freely, of filling empty time with sequences of notes, empty space with sequences of form.”
—Max J. Friedländer (1867–1958)