Ms. Woodlawn had been in the outer orbit of the Factory, Andy Warhol’s studio headquarters, when she caught the attention of Paul Morrissey, Warhol’s partner in making experimental films like “Chelsea Girls” and “Flesh.” Mr. Morrissey cast her in “Trash” as the long-suffering paramour of a heroin addict who lives in squalor on the Lower East Side.
Her sassy, improvised dialogue and her vulnerability touched audiences and critics, many of whom were desperate to find a glint of redeeming light in a relentlessly sordid film.
With great aplomb, Ms. Woodlawn took her place in the Warhol pantheon alongside two other freshly minted stars, the transgender actresses Jackie Curtis and Candy Darling.
Ms. Woodlawn said, recalling her heyday, “Little did I realize that not only would there be no money, but that your star would flicker for two seconds and that was it. But it was worth it, the drugs, the parties; it was fabulous.”