Lights, cam­era, af­fec­tion for film­maker

Winnipeg Free Press - Section G - - ENTERTAINMENT - By Moira Macdon­ald

WHAT is “Alt­manesque?” In Alt­man, doc­u­men­tar­ian Ron Mann’s af­fec­tion­ate trib­ute to the film­maker Robert Alt­man (19252006), sev­eral vet­er­ans of the di­rec­tor’s films an­swer the ques­tion. Sally Keller­mann ( MASH): “Play­ing the long­shot.” Lily Tom­lin ( Nashville, Short Cuts, A Prairie Home Com­pan­ion): “Cre­at­ing a fam­ily.” Philip Baker Hall ( Se­cret Honor): “Never giv­ing up.” Bruce Wil­lis ( The Player): “Kick­ing Hol­ly­wood’s ass.” Ju­lianne Moore ( Short Cuts, Cookie’s For­tune): “How vul­ner­a­ble we are.” And, mov­ingly, Robin Wil­liams ( Popeye): “Ex­pect the un­ex­pected.” Alt­man, nar­rated by the film­maker’s widow, Kathryn Reed Alt­man, and in in­ter­view footage by the sub­ject him­self, walks us through a re­mark­able ca­reer. A for­mer Sec­ond World War air­man, Alt­man got his start in in­dus­trial films and tele­vi­sion — with an early boost from Al­fred Hitch­cock, who in­vited him to di­rect episodes of Al­fred Hitch­cock Presents in the 1950s. But his fond­ness for re­al­ism and soon-to-be-trade­mark over­lap­ping di­a­logue pushed him out of net­work


MASH put Alt­man on the map in


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