The Delinquents (1957) (Altman's big-screen directorial debut)
The James Dean Story (1957) (documentary) (co-dir: George W. George)
The Katherine Reed Story (1965) (short documentary)
Pot au feu (1965) (short)
Countdown (1968)
That Cold Day in the Park (1969)
MASH (1970)
Brewster McCloud (1970)
McCabe & Mrs. Miller (1971)
Images (1972)
The Long Goodbye (1973)
Thieves Like Us (1974)
California Split (1974)
Nashville (1975)
Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)
3 Women (aka Robert Altman's 3 Women) (1977)
A Wedding (1978)
Quintet (1979)
A Perfect Couple (1979)
HealtH (1980)
Popeye (1980)
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982)
Streamers (1983)
Secret Honor (1984)
O.C. & Stiggs (1984) (released in 1987)
Fool for Love (1985)
Beyond Therapy (1987)
Aria (1987) - segment: Les Boréades
Vincent & Theo (1990)
The Player (1992)
Short Cuts (1993)
Prêt-à-Porter aka Ready to Wear (1994)
Kansas City (1996)
The Gingerbread Man (1998)
Cookie's Fortune (1999)
Dr. T & the Women (2000)
Gosford Park (2001)
The Company (2003)
A Prairie Home Companion (2006)
Associated Press
Film Director Robert Altman Dies
By DAVID GERMAIN 11.21.06, 11:43 AM ET
Robert Altman, the caustic and irreverent satirist behind "M-A-S-H,"
"Nashville" and "The Player" who made a career out of bucking Hollywood
management and story conventions, died at a Los Angeles Hospital, his
Sandcastle 5 Productions Company said Tuesday. He was 81.
The director died Monday night, Joshua Astrachan, a producer at
Altman's Sandcastle 5 Productions in New York City, told The Associated
Press.
The cause of death wasn't disclosed. A news release was expected later
in the day, Astrachan said.
A five-time Academy Award nominee for best director, most recently for
2001's "Gosford Park," he finally won a lifetime achievement Oscar in
2006.
"No other filmmaker has gotten a better shake than I have," Altman said
while accepting the award. "I'm very fortunate in my career. I've never
had to direct a film I didn't choose or develop. My love for filmmaking
has given me an entree to the world and to the human condition."
Altman had one of the most distinctive styles among modern filmmakers.
He often employed huge ensemble casts, encouraged improvisation and
overlapping dialogue and filmed scenes in long tracking shots that
would flit from character to character.
Perpetually in and out of favor with audiences and critics, Altman
worked ceaselessly since his anti-war black comedy "M-A-S-H"
established his reputation in 1970, but he would go for years at a time
directing obscure movies before roaring back with a hit.
After a string of commercial duds including "The Gingerbread Man" in
1998, "Cookie's Fortune" in 1999 and "Dr. T & the Women" in 2000,
Altman took his all-American cynicism to Britain for 2001's "Gosford
Park."
A combination murder-mystery and class-war satire set among snobbish
socialites and their servants on an English estate in the 1930s,
"Gosford Park" was Altman's biggest box-office success since "M-A-S-H."
Besides best-director, "Gosford Park" earned six other Oscar
nominations, including best picture and best supporting actress for
both Helen Mirren and Maggie Smith. It won the original-screenplay
Oscar, and Altman took the best-director prize at the Golden Globes for
"Gosford Park."
Altman's other best-director Oscar nominations came for "M-A-S-H," the
country-music saga "Nashville" from 1975, the movie-business satire
"The Player" from 1992 and the ensemble character study "Short Cuts"
from 1993. He also earned a best-picture nomination as producer of
"Nashville."
No director ever got more best-director nominations without winning a
regular Oscar, though four other men - Alfred Hitchcock, Martin
Scorsese, Clarence Brown and King Vidor - tied with Altman at five.
In May, Altman brought out "A Prairie Home Companion," with Garrison
Keillor starring as the announcer of a folksy musical show - with the
same name as Keillor's own long-running show - about to be shut down by
new owners. Among those in the cast were Meryl Streep, Lily Tomlin,
Kevin Kline, Woody Harrelson and Tommy Lee Jones.
"This film is about death," Altman said at a May 3 news conference in
St. Paul, Minn., also attended by Keillor and many of the movie's
stars.
He often took on Hollywood genres with a revisionist's eye,
de-romanticizing the Western hero in 1971's "McCabe and Mrs. Miller"
and 1976's "Buffalo Bill and the Indians, or Sitting Bull's History
Lesson," the film-noir gumshoe in 1973's "The Long Goodbye" and outlaw
gangsters in "Thieves Like Us."
"M-A-S-H" was Altman's first big success after years of directing
television, commercials, industrial films and generally unremarkable
feature films. The film starring Donald Sutherland and Elliott Gould
was set during the Korean War but was Altman's thinly veiled attack on
U.S. involvement in Vietnam.
"That was my intention entirely. If you look at that film, there's no
mention of what war it is," Altman said in an Associated Press
interview in 2001, adding that the studio made him put a disclaimer at
the beginning to identify the setting as Korea.
"Our mandate was bad taste. If anybody had a joke in the worst taste,
it had a better chance of getting into the film, because nothing was in
worse taste than that war itself," Altman said.
The film spawned the long-running TV sitcom starring Alan Alda, a show
Altman would refer to with distaste as "that series." Unlike the social
message of the film, the series was prompted by greed, Altman said.
"They made millions and millions of dollars by bringing an Asian war
into Americans' homes every Sunday night," Altman said in 2001. "I
thought that was the worst taste."
Altman never minced words about reproaching Hollywood. After the Sept.
11 attacks, he said Hollywood served as a source of inspiration for the
terrorists by making violent action movies that amounted to training
films for such attacks.
"Nobody would have thought to commit an atrocity like that unless
they'd seen it in a movie," Altman said.
Altman was written off repeatedly by the Hollywood establishment, and
his reputation for arrogance and hard drinking - a habit he eventually
gave up - hindered his efforts to raise money for his idiosyncratic
films.
While critical of studio executives, Altman held actors in the highest
esteem. He joked that on "Gosford Park," he was there mainly to turn
the lights on and off for the performers.
The respect was mutual. Top-name actors would clamor for even bit parts
in his films. Altman generally worked on shoestring budgets, yet he
continually landed marquee performers who signed on for a fraction of
their normal salaries.
After the mid-1970s, the quality of Altman's films became increasingly
erratic. His 1980 musical "Popeye," with Robin Williams, was trashed by
critics, and Altman took some time off from film.
He directed the Broadway production of "Come Back to the Five and Dime,
Jimmy Dean, Jimmy Dean," following it with a movie adaptation in 1982.
Altman went back and forth from TV to theatrical films over the next
decade, but even when his films earned critical praise, such as 1990's
"Vincent & Theo," they remained largely unseen.
"The Player" and "Short Cuts" re-established Altman's reputation and
commercial viability. But other 1990s films - including his
fashion-industry farce "Ready to Wear" and "Kansas City," his reverie
on the 1930s jazz and gangster scene of his hometown - fell flat.
Born Feb. 20, 1925, Altman hung out in his teen years at the jazz clubs
of Kansas City, Mo., where his father was an insurance salesman.
Altman was a bomber pilot in World War II and studied engineering at
the University of Missouri in Columbia before taking a job making
industrial films in Kansas City. He moved into feature films with "The
Delinquents" in 1957, then worked largely in television through the mid
1960s, directing episodes of such series as "Bonanza" and "Alfred
Hitchcock Presents."
Altman and his wife, Kathryn, had two sons, Robert and Matthew, and he
had a daughter, Christine, and two other sons, Michael and Stephen,
from two previous marriages.
When he received his honorary Oscar in 2006, Altman revealed he had a
heart transplant a decade earlier.
"I didn't make a big secret out of it, but I thought nobody would hire
me again," he said after the ceremony. "You know, there's such a stigma
about heart transplants, and there's a lot of us out there."
****! Very sad news, man.
The James Dean Story (1957) (documentary) (co-dir: George W. George)
The Katherine Reed Story (1965) (short documentary)
Pot au feu (1965) (short)
Countdown (1968)
That Cold Day in the Park (1969)
MASH (1970)
Brewster McCloud (1970)
McCabe & Mrs. Miller (1971)
Images (1972)
The Long Goodbye (1973)
Thieves Like Us (1974)
California Split (1974)
Nashville (1975)
Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)
3 Women (aka Robert Altman's 3 Women) (1977)
A Wedding (1978)
Quintet (1979)
A Perfect Couple (1979)
HealtH (1980)
Popeye (1980)
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982)
Streamers (1983)
Secret Honor (1984)
O.C. & Stiggs (1984) (released in 1987)
Fool for Love (1985)
Beyond Therapy (1987)
Aria (1987) - segment: Les Boréades
Vincent & Theo (1990)
The Player (1992)
Short Cuts (1993)
Prêt-à-Porter aka Ready to Wear (1994)
Kansas City (1996)
The Gingerbread Man (1998)
Cookie's Fortune (1999)
Dr. T & the Women (2000)
Gosford Park (2001)
The Company (2003)
A Prairie Home Companion (2006)
Associated Press
Film Director Robert Altman Dies
By DAVID GERMAIN 11.21.06, 11:43 AM ET
Robert Altman, the caustic and irreverent satirist behind "M-A-S-H,"
"Nashville" and "The Player" who made a career out of bucking Hollywood
management and story conventions, died at a Los Angeles Hospital, his
Sandcastle 5 Productions Company said Tuesday. He was 81.
The director died Monday night, Joshua Astrachan, a producer at
Altman's Sandcastle 5 Productions in New York City, told The Associated
Press.
The cause of death wasn't disclosed. A news release was expected later
in the day, Astrachan said.
A five-time Academy Award nominee for best director, most recently for
2001's "Gosford Park," he finally won a lifetime achievement Oscar in
2006.
"No other filmmaker has gotten a better shake than I have," Altman said
while accepting the award. "I'm very fortunate in my career. I've never
had to direct a film I didn't choose or develop. My love for filmmaking
has given me an entree to the world and to the human condition."
Altman had one of the most distinctive styles among modern filmmakers.
He often employed huge ensemble casts, encouraged improvisation and
overlapping dialogue and filmed scenes in long tracking shots that
would flit from character to character.
Perpetually in and out of favor with audiences and critics, Altman
worked ceaselessly since his anti-war black comedy "M-A-S-H"
established his reputation in 1970, but he would go for years at a time
directing obscure movies before roaring back with a hit.
After a string of commercial duds including "The Gingerbread Man" in
1998, "Cookie's Fortune" in 1999 and "Dr. T & the Women" in 2000,
Altman took his all-American cynicism to Britain for 2001's "Gosford
Park."
A combination murder-mystery and class-war satire set among snobbish
socialites and their servants on an English estate in the 1930s,
"Gosford Park" was Altman's biggest box-office success since "M-A-S-H."
Besides best-director, "Gosford Park" earned six other Oscar
nominations, including best picture and best supporting actress for
both Helen Mirren and Maggie Smith. It won the original-screenplay
Oscar, and Altman took the best-director prize at the Golden Globes for
"Gosford Park."
Altman's other best-director Oscar nominations came for "M-A-S-H," the
country-music saga "Nashville" from 1975, the movie-business satire
"The Player" from 1992 and the ensemble character study "Short Cuts"
from 1993. He also earned a best-picture nomination as producer of
"Nashville."
No director ever got more best-director nominations without winning a
regular Oscar, though four other men - Alfred Hitchcock, Martin
Scorsese, Clarence Brown and King Vidor - tied with Altman at five.
In May, Altman brought out "A Prairie Home Companion," with Garrison
Keillor starring as the announcer of a folksy musical show - with the
same name as Keillor's own long-running show - about to be shut down by
new owners. Among those in the cast were Meryl Streep, Lily Tomlin,
Kevin Kline, Woody Harrelson and Tommy Lee Jones.
"This film is about death," Altman said at a May 3 news conference in
St. Paul, Minn., also attended by Keillor and many of the movie's
stars.
He often took on Hollywood genres with a revisionist's eye,
de-romanticizing the Western hero in 1971's "McCabe and Mrs. Miller"
and 1976's "Buffalo Bill and the Indians, or Sitting Bull's History
Lesson," the film-noir gumshoe in 1973's "The Long Goodbye" and outlaw
gangsters in "Thieves Like Us."
"M-A-S-H" was Altman's first big success after years of directing
television, commercials, industrial films and generally unremarkable
feature films. The film starring Donald Sutherland and Elliott Gould
was set during the Korean War but was Altman's thinly veiled attack on
U.S. involvement in Vietnam.
"That was my intention entirely. If you look at that film, there's no
mention of what war it is," Altman said in an Associated Press
interview in 2001, adding that the studio made him put a disclaimer at
the beginning to identify the setting as Korea.
"Our mandate was bad taste. If anybody had a joke in the worst taste,
it had a better chance of getting into the film, because nothing was in
worse taste than that war itself," Altman said.
The film spawned the long-running TV sitcom starring Alan Alda, a show
Altman would refer to with distaste as "that series." Unlike the social
message of the film, the series was prompted by greed, Altman said.
"They made millions and millions of dollars by bringing an Asian war
into Americans' homes every Sunday night," Altman said in 2001. "I
thought that was the worst taste."
Altman never minced words about reproaching Hollywood. After the Sept.
11 attacks, he said Hollywood served as a source of inspiration for the
terrorists by making violent action movies that amounted to training
films for such attacks.
"Nobody would have thought to commit an atrocity like that unless
they'd seen it in a movie," Altman said.
Altman was written off repeatedly by the Hollywood establishment, and
his reputation for arrogance and hard drinking - a habit he eventually
gave up - hindered his efforts to raise money for his idiosyncratic
films.
While critical of studio executives, Altman held actors in the highest
esteem. He joked that on "Gosford Park," he was there mainly to turn
the lights on and off for the performers.
The respect was mutual. Top-name actors would clamor for even bit parts
in his films. Altman generally worked on shoestring budgets, yet he
continually landed marquee performers who signed on for a fraction of
their normal salaries.
After the mid-1970s, the quality of Altman's films became increasingly
erratic. His 1980 musical "Popeye," with Robin Williams, was trashed by
critics, and Altman took some time off from film.
He directed the Broadway production of "Come Back to the Five and Dime,
Jimmy Dean, Jimmy Dean," following it with a movie adaptation in 1982.
Altman went back and forth from TV to theatrical films over the next
decade, but even when his films earned critical praise, such as 1990's
"Vincent & Theo," they remained largely unseen.
"The Player" and "Short Cuts" re-established Altman's reputation and
commercial viability. But other 1990s films - including his
fashion-industry farce "Ready to Wear" and "Kansas City," his reverie
on the 1930s jazz and gangster scene of his hometown - fell flat.
Born Feb. 20, 1925, Altman hung out in his teen years at the jazz clubs
of Kansas City, Mo., where his father was an insurance salesman.
Altman was a bomber pilot in World War II and studied engineering at
the University of Missouri in Columbia before taking a job making
industrial films in Kansas City. He moved into feature films with "The
Delinquents" in 1957, then worked largely in television through the mid
1960s, directing episodes of such series as "Bonanza" and "Alfred
Hitchcock Presents."
Altman and his wife, Kathryn, had two sons, Robert and Matthew, and he
had a daughter, Christine, and two other sons, Michael and Stephen,
from two previous marriages.
When he received his honorary Oscar in 2006, Altman revealed he had a
heart transplant a decade earlier.
"I didn't make a big secret out of it, but I thought nobody would hire
me again," he said after the ceremony. "You know, there's such a stigma
about heart transplants, and there's a lot of us out there."
****! Very sad news, man.
