Robert Altman Poster


Jump to: Overview (5)  | Mini Bio (1)  | Spouse (3)  | Trade Mark (5)  | Trivia (41)  | Personal Quotes (42)  | Salary (1)

Overview (5)

Born in Kansas City, Missouri, USA
Died in Los Angeles, California, USA  (complications from leukemia)
Birth NameRobert Bernard Altman
Nickname Bob
Height 6' (1.83 m)

Mini Bio (1)

Robert Altman was born on February 20th, 1925 in Kansas City, Missouri, to B.C. (an insurance salesman) and Helen Altman. He entered St. Peters Catholic school at the age six, and spent a short time at a Catholic high school. From there, he went to Rockhurst High School. It was then that he started exploring the art of exploring sound with the cheap tape recorders available at the time. He was then sent to Wentworth Military Academy in Lexington, Missouri where he attended through Junior College. In 1945, he enlisted in the US Army Air Forces and became a copilot of a B-24. After his discharge from the military, he became fascinated by movies and he and his first wife, LaVonne Elmer, moved to Hollywood, where Altman tried acting (appearing in the film The Secret Life of Walter Mitty (1947)), songwriting (he wrote a musical intended for Broadway, "The Rumors are Flying"), and screen-writing (he co-wrote the screenplay for the film Bodyguard (1948) and wrote the story (uncredited) for Christmas Eve (1947)), but he could not get a foot hold in Tinseltown. After a brief fling as publicity director with a company in the business of tattooing dogs, Altman finally gave up and returned to his hometown of Kansas City, where he decided he wanted to do some serious work in filmmaking. An old friend of his recommended him to a film production company in Kansas City, the Calvin Co., who hired him in 1950. After a few months of work in writing scripts and editing films, Altman began directing films at Calvin. It was here (while working on documentaries, employee training films, industrial and educational films and advertisements) that he learned much about film making. All in all, Altman pieced together sixty to sixty-five short films for Calvin on every subject imaginable, from football to car crashes, but he kept grasping for more challenging projects. He wrote the screenplay for the Kansas City-produced feature film Corn's-A-Poppin' (1955), he produced and directed several television commercials including one with the Eileen Ford Agency, he co-created and directed the TV series The Pulse of the City (1953) which ran for one season on the independent Dumont network, and he even had a formative crack at directing local community theater. His big-screen directorial debut came while still at Calvin with The Delinquents (1957) and, by 1956, he left the Calvin Co., and went to Hollywood to direct Alfred Hitchcock's TV show. From here, he went on to direct a large number of television shows, until he was offered the script for MASH (1970) in 1969. He was hardly the producer's first choice - more than fifteen other directors had already turned it down. This wasn't his first movie, but it was his first success. After that, he had his share of hits and misses, but The Player (1992) and, more recently, Gosford Park (2001) were particularly well-received.

- IMDb Mini Biography By: Christopher W. Johnson <johnsocw@craft.camp.clarkson.edu>

Spouse (3)

Kathryn Reed (1 April 1959 - 20 November 2006) ( his death) ( 2 children)
Lotus Corelli (21 November 1952 - 1959) ( divorced) ( 2 children)
LaVonne Elmer (8 June 1946 - 1951) ( divorced) ( 1 child)

Trade Mark (5)

His movies often contain overlapping dialogue, where several characters speak at once.
In his films, we often see and hear characters from outside a window, or from a distance.
Frequently directs large ensemble pieces
Social commentary themes
Using zoom lenses.

Trivia (41)

He came up with a scheme to "Identi-Code" pets. He would tattoo a number on the cat or dog. Somehow, he managed to tattoo President Harry S. Truman's dog.
He designed a watch called "Time to Reflect" for Swatch in 1995 to commemorate the centenary of the birth of cinema.
His son, Mike Altman, wrote the lyrics for "Suicide is Painless," the theme song for MASH (1970), when he was only 14 years old.
Stepdaughter, Konni Corriere (with Reed), born 1946.
Son, Robert Reed Altman, with Kathryn Reed, was born in 1960.
Son, Matthew R. Altman was adopted at birth in 1966.
Son, Stephen Altman, with Lotus Corelli, was born in 1957.
Son, Mike Altman, with Lotus Corelli, was born in 1955.
Daughter, Christine Altman, with LaVonne Elmer, was born in 1947.
Was voted the 17th Greatest Director of all time by Entertainment Weekly.
Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 29-39. New York: The H.W. Wilson Company, 1988.
Worked with (the late) Vic Morrow on the TV series Combat! (1962), with Vic's daughter, Jennifer Jason Leigh in several films including Short Cuts (1993), and with Vic's ex-wife (and Jennifer's mother) Barbara Turner on The Company (2003).
Like the late Richard Hooker, author of the book "MASH" (on which his film MASH (1970) was based), Altman greatly disliked the TV series that followed and said that it didn't make the same anti-war point that his film made.
Directed 6 different actresses in Oscar-nominated performances: Sally Kellerman, Julie Christie, Ronee Blakley, Lily Tomlin, Helen Mirren and Maggie Smith.
Close friends with actress Julie Christie and Sally Kellerman.
While working on McCabe & Mrs. Miller (1971), he and Warren Beatty hated each other so much that Beatty later admitted that, had he produced the film himself, he would have killed Altman.
He is a member of the NORML (National Organization for the Reform of Marijuana Laws) Advisory Board.
In the recent past, the New York Film Critics Circle Awards (founded in 1935) were second in prestige only to the Academy Awards (and some actors and filmmakers such as double Oscar-winner Glenda Jackson considered it a superior honor) and were a major influence on subsequent Oscar nominations. The Golden Globe Awards, which were plagued by scandals related to its small, unrepresentative voting body and to self-dealing with subsequent awardees, had been forced off the air by the Federal Communications Commission and were regarded as something of a joke by more serious cinephiles. During the 1976 presidential election year, Robert Altman's masterpiece Nashville (1975) won Best Picture and Supporting Actress (Lily Tomlin), and Altman was named the top director by the NYFCC. All failed to repeat at the Academy Awards (though Keith Carradine won an Oscar for Best Song.) Altman -- discussing Nashville (1975)'s loss of the Best Picture Oscar to One Flew Over the Cuckoo's Nest (1975) earlier that year -- characterized the NYFCC Awards as the 'New York primary' leading up to the Oscar 'election'. Continuing with the metaphor in his August 1976 Interview with Bruce Williamson in "PLAYBOY Magazine" (Vol. 23, Iss. 8), Altman said that "Cuckoo's Nest" had had an inside advantage as it had won the 'California primary' (the Golden Globes). At the time, the Golden Globes, though a joke in terms of their integrity, were still a potent predictor of eventual Oscar success (and would come to be the second-most important bellwether of the Academy Awards by the 1980s and '90s).
Made his London theatrical debut in early 2006 directing Arthur Miller's play "Resurrection Blues" at the Old Vic under the aegis of Kevin Spacey, the Artistic Director of the venerable London company. Altman chose an eclectic cast for the Miller play featured, including Maximilian Schell, James Fox (who replaced John Wood before previews), and American movie actors Matthew Modine and Jane Adams. The English critics panned "Resurrection Blues", partly due to the clash in acting styles of the disparate cast. Adams walked out after a matinée on April 5, 2006, and was replaced by her understudy for subsequent performances. No explanation was given for her departure from the production. The play was scheduled to close a week early in mid-April due to poor ticket sales. Altman claimed after the poor debut of the play that he was not very familiar with the script, and didn't really understand the play. Critics said that his confusion obviously affected the cast, many of whom seemed not to understand the play, and some of whom seemed to have trouble remembering lines. While not an outright debacle, the play is another relative failure characterizing Spacey's troubled tenure as Old Vic chief.
Upon receiving an honorary Oscar at the 2006 Academy Awards, Altman revealed that he had been the recipient of a heart transplant approximately 10 years prior, and hadn't gone public out of fear that it would hinder his ability to get work.
His episodes of Bonanza (1959) often starred the Hoss character played by Dan Blocker and frequently were humorous.
When directing episodes of the TV show Bonanza (1959), Altman became close friends with actor Dan Blocker, who portrayed Hoss. Altman wanted Blocker to play the Roger Wade character in his version of Raymond Chandler's The Long Goodbye (1973), but he died before the commencement of shooting. The movie was dedicated to Blocker.
It is said that Altman, a veteran of the U.S. Army Air Force during World War II, was radicalized by a trip to Vietnam to shoot footage of the war in the 1960s. He has never talked about this episode in his life and career.
Helped Shelley Duvall and Gary Chason begin their careers by giving them jobs on Brewster McCloud (1970).
Member of the Academy of Motion Picture Arts and Sciences (Directors Branch).
Paul Thomas Anderson was employed as a standby director for A Prairie Home Companion (2006) for insurance purposes, and in the event that ailing 80-year-old Altman was unable to finish shooting.
Has twice used a blonde woman in a white trench coat to symbolize death: Sally Kellerman in Brewster McCloud (1970) and Virginia Madsen in A Prairie Home Companion (2006).
He was made a Fellow of the British Film Institute, in recognition of his outstanding contribution to film culture.
Profiled in "Conversations with Directors: An Anthology of Interviews from Literature/Film Quarterly", E.M. Walker, D.T. Johnson, eds. Lanham, MD: Scarecrow Press, 2008.
Is the only American director to win the top prize at all the three major European film festivals: He won the Palme d'or at the Cannes International Film Festival for MASH (1970) in 1970, the Golden Bear at the Berlin International Film Festival for Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976) in 1976 and the Golden Lion at the Venice International Film Festival for Short Cuts (1993) in 1993. Apart from Altman, only the Italian director Michelangelo Antonioni and the French director Henri-Georges Clouzot have this distinction.
Directed both Susannah York and Shelley Duvall to the Best Actress Award at the prestigious Cannes Film Festival. York winning for her role as Cathryn in Images (1972), and Duvall for her portrayal of Millie Lammoreaux in 3 Women (1977).
Being a great admirer of German actress-singer Ute Lemper, he planned to cast her in a remake of Mata Hari (1931), but the movie never came about. He instead gave her a (memorable) part in Ready to Wear (1994).
Was a Democrat.
Brother-in-law of Richard C. Sarafian, who married his sister, Joan Altman.
Was a mentor to Tim Robbins, Tom Skerritt, and Alan Rudolph.
Recommended Ned Beatty for the role of Arthur Jensen in Director Sidney Lumet's Network.
Seven of Robert Altman's films are in the Criterion Collection: "McCabe & Mrs. Miller" (1971), "Nashville" (1975), "3 Women" (1977), "Secret Honor" (1984), "Tanner '88" (1988), "The Player" (1992) and "Short Cuts" (1993).
14 other film directors passed on directing M*A*S*H before it was offered to Robert Altman and he accepted.
Robert Altman was one of film critic Pauline Kael's favorite directors, and she was also a fan of many of his films.
He has directed three films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: MASH (1970), McCabe & Mrs. Miller (1971) and Nashville (1975).

Personal Quotes (42)

What is a cult? It just means not enough people to make a minority.
I fiddle in the corner where they throw the coins. Where I can get my work done.
I've about had it - the agencies, the winking, the networks, the ratings. Anyone who thinks TV is an art medium is crazy - it's an advertising medium.
[interview in the London Times, 1/22/02] When I see an American flag flying, it's a joke.
[about his relationship with mainstream Hollywood] We're not against each other. They sell shoes and I make gloves.
Retirement? You're talking about death, right?
Filmmaking is a chance to live many lifetimes.
Wisdom and love have nothing to do with one another. Wisdom is staying alive, survival. You're wise if you don't stick your finger in the light plug. Love - you'll stick your finger in anything.
Every ad for every film is exactly the same.
Jazz has endured because it doesn't have a beginning or an ending. It's a moment.
Mr. and Mrs. Smith get married, they have problems, they get back together and they live happily ever after. End of the movie. Two weeks later, he kills her, grinds her body up, feeds it to his girlfriend who dies of ptomaine poisoning, and her husband is prosecuted and sent to the electric chair for it--but here's our own little story with the happy ending. What is an ending? There's no such thing. Death is the only ending.
This [MASH (1970)] didn't get released by Fox, it escaped.
[The Rules of the Game (1939)] taught me the rules of the game.
What I'm looking for is occurrence, truthful human behavior. We've got a kind of road map, and we're making it up as we travel along.
The business is run by accountants who, as long as a film makes $40 billion, don't care if it kills the industry. Everything can also be shown so quickly in the home - which means that the people who go to movie theaters are teenagers who just want to get away from home. The audience has changed and the content has changed to suit that audience. But, even if I'll be an outdated item very shortly, I intend to carry on as long as I can.
And when I look around America today I feel we're oversaturated with goods. Like most of western Christian civilization, we feel it's fine if we're comfortable and, if the rest of the world isn't, then that's their problem. We're not generous. And the idea of paying some chief executive $40 million a year is just obscene. I don't deny it's nice to have silk sheets or whatever, but we live in a deeply unequal society and our luxury is both excessive and wasteful.
I don't storyboard anything. I go on a set in the morning and, unless a scene requires a lot of props, I won't even tell the crew what I'm going to shoot first. I know what the setup is and which actors are required. But I have to see what occurs and like to shoot in sequence if possible. It makes for a lot of editing but I like to go on a journey with the actors. I also love working on ensemble movies like Nashville (1975), Short Cuts (1993) and Gosford Park (2001). Having multiple narratives makes my job a lot easier: if something doesn't work, it means I can cut away to something else. I also like the audience to use their necks to take in everything happening in the frame. I'd hate to do something like Two for the Seesaw (1962) where there were just two close-up faces to look at.
People talk about my signature. But I ask them if they ever saw Howard Hawks' films. They're filled with overlapping dialog. Everything I've learned has come from watching other directors: Bergman [Ingmar Bergman], Fellini [Federico Fellini], Kurosawa [Akira Kurosawa], Huston [John Huston] and Renoir [Jean Renoir].
The actors have to know the play because they have to memorize the words. The technicians have to know the play because they have to organize the sound and light cues. But I want to keep myself as virginal as I can. I say, "Tell me what this play is about." I'll find out as I do it and I'm really looking forward to seeing it. I don't advise young directors that this is what they should do. This is simply my method.
[on his Lifetime Achivement Oscar, awarded in 2006] I can't think of a better award - to me it's better for all of my work than for just a couple of things.
[at the Coolidge Award ceremony in 2006 for Meryl Streep] I was redundant! Meryl Streep doesn't need a director. She's kind to them; she's really nice. She'll compliment you, and say, "That was good - what you did." I was so happy the next day to get on the stage with a lot of other actors. I didn't have to be just . . . whelmed by Miss Streep. Anyway, Meryl - I'll get over this. In spite of the personal sadness I got from working with you, I'm glad I did.
I learned a lot about losing from my father. That losing is an identity; that you can be a good loser and a bad winner; that none of it - gambling, money, winning, or losing - has any real value.
I look at film as closer to a painting or a piece of music; it's an impression . . . an impression of character and total atmosphere . . . The attempt is to enlist an audience emotionally, not intellectually.
[on his film The Gingerbread Man (1998)] Well, it's criminal, their treatment of that film. There was a vindictive order from the guy who was running [Polygram Films], he was so pissed off with me, he literally told them, "I want that movie killed". We're talking to lawyers, but it's almost impossible to win a lawsuit. You can't prove what a film could have done. They were just pissed off because it didn't test the way they wanted it to with the teenagers, y'know, in those malls.
[on Elliott Gould] He knows exactly what he wants and how to get it.
[on Julie Christie] Julie doesn't like being a movie star. All she wants is to act. If she had her way, she'd like a nice role to play in a film that doesn't require a lot of recognition.
[on Sissy Spacek] She's remarkable, one of the top actresses I've worked with. Her resources are like a deep well.
I probably am a lazy artist and probably don't control things as much as some people would like- but that's my business. And if my style is too loose or improvised for some people's taste, that's their problem- totally. The fact is, I'm not the greatest Hollywood director and that bullshit, but I'm not the opposite either. And I am not careless. I may be irresponsible, I may strive for things and not always succeed. but that's never the result of sloppiness. Maybe it's lack of judgment.
All of my films deal with the same thing: striving, socially and culturally, to stay alive. And once any system succeeds, it becomes its own worst enemy. The good things we create soon create bad things. So nothing is ever going to be Utopian, and when I make films like Nashville (1975) and Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976), it's not to say we're the worst country in the world, or God, what awful people these are. I'm just saying we're at this point and it's sad.
The worst trap you can fall in is to start imitating yourself.
I'll give you the same advice I give my children: Never take advice from anybody.
We make too much of the good and too much of the bad.
Anybody who gives you advice is giving you what they think is correct for them if they were in your position. But they're not you! And you're not them. You can listen to these things, but I advise that you don't take advice from anybody.
I didn't mind military school; I kind of liked it. I thought it was a nice little adventure.
[observation, 1986] It's very hard to find anyone with any decency in the business. They all hide behind the corporate structure. They're like landlords who kick people out of tenement buildings. There's no compassion and there's certainly no interest in the arts.
We're in a position in our culture right now, where most of the things we learn are from films and television. And maybe I'm trying to say, 'Wait a minute, that's not necessarily true, there's another side to it...'
[on working with Warren Beatty on McCabe & Mrs. Miller (1971)] Warren and I don't like each other very much. I think he's certainly a good actor. He was great in the movie. But I wouldn't go through that again. It's no fun.
[on Titanic (1997)] The most dreadful piece of work I've ever seen in my entire life.
When John Lennon got assassinated, I get a call immediately from the Washington Post and they said, "Do you feel responsible for this?" and I said "What do you mean, responsible?" "Well, I mean you're the one that predicted there would be a political assassination of a star." And I said "Well, I don't feel responsible," but I said, "but don't you feel responsible for not heeding my warning?" The statement here is, these people are not assassinated because of their ideas or what they do. They're assassinated to draw attention to the assassin. And in political assassinations, in their sort of warped minds, they know that they are going to have a certain amount of people who said "that son of a bitch [the politician] should have been shot," because there's such heat about it. But actually what they are doing is killing somebody who's in the public eye and is some sort of an icon. Because this feeling that by, doing that, committing that assassination they draw the attention to them self, and they make themselves consequently important. Ah, and it's no surprise to me, the Lennon assassination, because this is what all that is, and I don't think we have seen the end of it either.
[on American Beauty (1999)] So badly acted and directed.
[on Gosford Park (2001)] I had the time of my life making this movie.
[on Images (1972) and casting Susannah York] It was after I'd seen Susannah in something I particularly didn't like her in. I saw Jane Eyre (1970) on a trans-Atlantic plane flight one night. And I couldn't figure out why I was sitting there for that long looking at that awful film. George C. Scott was atrocious in it. But Susannah's face intrigued me so much. I never got tired of her. The problem with "Images" is that the girl is on the screen for just about 100% of the time. So I was very conscious of the fact that we needed someone who the audience wasn't going to tire of. And now, in retrospect, there's no way I can re-adjust my mind backwards to think anybody but Susannah York could have played it.

Salary (1)

MASH (1970) $75,000

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