Career
Bottoms made his film debut in 1971 as Joe Bonham in Dalton Trumbo's Johnny Got His Gun. The same year, he appeared alongside his brother Sam in The Last Picture Show. (He portrayed the same character in the 1990 sequel Texasville). He has appeared in other notable films such as The Paper Chase, Love and Pain and the Whole Damn Thing, Rollercoaster and Elephant.
Bottoms has the unique distinction of portraying U.S. President George W. Bush in three widely varying productions. In 2000-2001, he played a parody of Bush in the Comedy Central sitcom That's My Bush!; he subsequently appeared as Bush in a cameo appearance in the family film The Crocodile Hunter: Collision Course. Finally, following the September 11, 2001 attacks, Bottoms once again played Bush, this time in a serious fashion, in the telefilm DC 9/11, one of the first movies to be based upon the attacks.
During an episode of the Fox television show That '70s Show in which a tornado warning has been issued and the students of the high school are trapped, Bottoms is seen as the panicking principal. He appeared in a recurring role during the first season of the FX series Dirt as Gibson Horne, who owned the magazine that series main character Lucy Spiller worked for.
He also co-produced the documentary Picture This - The Times of Peter Bogdanovich in Archer City, Texas (1991) dealing with behind-the-scenes look on the films The Last Picture Show and Texasville. In the documentary, he revealed that he had a crush on his co-star Cybill Shepherd during The Last Picture Show, but she did not reciprocate his feelings. He was also heavily featured in the Metallica video for "One", which featured footage of the film Johnny Got His Gun.
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Famous quotes containing the word career:
“The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do so—concomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.”
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“Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.”
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