Altman on Altman

In Altman on Altman the award-winning director of M*A*S*H and Gosford Park Robert Altman candidly and entertainingly discusses his life and work.

Informationen zum Autor For Faber, David Thompson has co-edited Scorsese on Scorsese (with Ian Christie) and edited Levinson on Levinson . He is the director of many acclaimed documentaries about a diverse range of films and filmmakers, from Vittorio Storaro and Jean Renoir to Josef von Sternberg and Busby Berkeley. Klappentext An exciting collection of original interviews with the infamously outspoken director of Short Cuts . From Nashville to The Player to Gosford Park , Robert Altman's irreverent, iconoclastic style has palpably altered the landscape of American cinema. Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors. In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza , and his big break in feature films as the director of the enormously popular M*A*S*H , a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond. In Altman on Altman the award-winning director of M*A*S*H and Gosford Park Robert Altman candidly and entertainingly discusses his life and work. Zusammenfassung In Altman on Altman , one of American cinema's most incorrigible mavericks reflects on a brilliant career. Robert Altman served a long apprenticeship in movie-making before his great breakthrough, the Korean War comedy M*A*S*H (1969). It became a huge hit and won the Palme d'Or at Cannes, but also established Altman's inimitable use of sound and image, and his gift for handling a repertory company of actors. The 1970s then became Altman's decade, with a string of masterpieces: McCabe and Mrs Miller , The Long Goodbye , Thieves Like Us, Nashville . . . In the 1980s Altman struggled to fund his work, but he was restored to prominence in 1992 with The Player , an acerbic take on Hollywood. Short Cuts, an inspired adaptation of Raymond Carver, and the Oscar-winning Gosford Park , underscored his comeback. Now he recalls the highs and lows of his career trajectory to David Thompson in this definitive interview book, part of Faber's widely acclaimed Directors on Directors series. 'Hearing in his own words in Altman on Altman just how much of his films occur spontaneously, as a result of last-minute decisions on set, is fascinating . . . For film lovers, this is just about indispensable.' Ben Sloan, Metro London ...

Autorentext
For Faber, David Thompson has co-edited Scorsese on Scorsese (with Ian Christie) and edited Levinson on Levinson. He is the director of many acclaimed documentaries about a diverse range of films and filmmakers, from Vittorio Storaro and Jean Renoir to Josef von Sternberg and Busby Berkeley.

Klappentext
An exciting collection of original interviews with the infamously outspoken director of Short Cuts.

From Nashville to The Player to Gosford Park, Robert Altman's irreverent, iconoclastic style has palpably altered the landscape of American cinema. Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors.

In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.

Zusammenfassung
In Altman on Altman, one of American cinema's most incorrigible mavericks reflects on a brilliant career.

Robert Altman served a long apprenticeship in movie-making before his great breakthrough, the Korean War comedy M*A*S*H (1969). It became a huge hit and won the Palme d'Or at Cannes, but also established Altman's inimitable use of sound and image, and his gift for handling a repertory company of actors. The 1970s then became Altman's decade, with a string of masterpieces: McCabe and Mrs Miller, The Long Goodbye, Thieves Like Us, Nashville . . . In the 1980s Altman struggled to fund his work, but he was restored to prominence in 1992 with The Player, an acerbic take on Hollywood. Short Cuts, an inspired adaptation of Raymond Carver, and the Oscar-winning Gosford Park, underscored his comeback.

Now he recalls the highs and lows of his career trajectory to David Thompson in this definitive interview book, part of Faber's widely acclaimed Directors on Directors series.

'Hearing in his own words in Altman on Altman just how much of his films occur spontaneously, as a result of last-minute decisions on set, is fascinating . . . For film lovers, this is just about indispensable.' Ben Sloan, Metro London

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