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Home , 3 Women, A Perfect Couple, Brewster McCloud, Cinderella Liberty, Elliott Gould, Elliott Kastner

March 17, 2009 (XVIII:9) , , 1973 112 minutes

Directed by Robert Altman Screenplay by Based on the novel by Produced by Jerry Bick Original Music by Cinematography by Vilmos Zsigmond Film Editing by Film dedicated to

Elliott Gould.. Nina Van Pallandt..Eileen Wade Sterling Hayden..Roger Wade ..Marty Augustine ..Dr. Verringer David Arkin..Harry Jim Bouton..Terry Lennox Warren Berlinger..Morgan Jo Ann Brody..Jo Ann Eggenweiler Stephen Coit..Det. Farmer

Jack Knight..Mabel Vincent & Theo (1990), "Tanner '88" (1988), The Caine Mutiny Pepe Callahan..Pepe Court-Martial (1988), Aria (1987), Fool for Love (1985), Secret Vincent Palmieri..Vince Honor (1984), Streamers (1983), Come Back to the Five and Pancho Córdova..Doctor Dime, Jimmy Dean, Jimmy Dean (1982), Popeye (1980), HealtH Enrique Lucero..Jefe (1980), (1979), Quintet (1979), A Wedding Jack Riley..Lenny - Piano Player (1978), (1977), Buffalo Bill and the Indians, or Sitting Ken Sansom..Colony guard Bull's History Lesson (1976), Nashville (1975), Jerry Jones..Det. Green (1974), Thieves Like Us (1974), The Long Goodbye (1973), David Carradine..Dave Marlowe's Cellmate Images (1972), McCabe & Mrs. Miller (1971), Brewster McCloud Arnold Schwarzenegger..Hood in Augustine's office (1970), That Cold Day in the Park (1969), Countdown (1968), Pot au feu (1965), "Combat!" (1962-1963), "Bus Stop" (1961-1962), ROBERT ALTMAN (February 20, 1925, Kansas City, Missouri— "Bonanza" (1960-1961), "The Roaring 20's" (1960-1961), "U.S. November 20, 2006, Los Angeles, complications from leukemia) Marshal" (1959-1960), "Westinghouse Desilu Playhouse" (1960), has 89 directing and 40 writing credits. He was American Film "The Millionaire" (1958-1959), "M Squad" (1958), The James Instituted Director of the Year for (2001). He Dean Story (1957), The Delinquents (1957), The Magic Bond received an Honorary Oscar in 2002 and best director nominations (1956), The Perfect Crime (1955), The Builders (1954), The Last for Gosford Park (2001, also nominated for Best Picture), Short Mile (1953), How to Run a Filling Station (1953), King Basketball Cuts (1993), The Player (1992), Nashville (1975, also Best (1952), The Sound of Bells (1952), and Modern Football (1951). Picture) and MASH (1970). Some of his other films and tv projects were A Prairie Home Companion (2006), "Tanner on LEIGH BRACKETT (December 7, 1915, Los Angeles—March 18, Tanner" (2004), The Company (2003), Dr. T and the Women 1978, cancer) has 17 writing credits,among them Star Wars: (2000), Cookie's Fortune (1999), The Gingerbread Man (1998), Episode V - The Empire Strikes Back (1980), "The Rockford Kansas City (1996), Jazz '34 (1996), Prêt-à-Porter (1994), The Files" (1975), "Archer" (1975), The Long Goodbye (1973), Rio Real McTeague (1993), Black and Blue (1993), McTeague (1992), Lobo (1970), El Dorado (1966), Hatari! (1962), Rio Bravo

Altman—THE LONG GOODBYE—2

(1959), Crime Doctor's Man Hunt (1946), (1946), Sheriff (1957), The Killing (1956), The Last Command (1955), and The Vampire's Ghost (1945). Suddenly (1954), (1954), Prince Valiant (1954), So Big (1953), Kansas Pacific (1953), Flat Top (1952), The Golden (August 29, 1938, Brooklyn, ) has Hawk (1952), (1950), El Paso (1949), and 144 acting credits. He received an Oscar nomination for Best Virginia (1941). wrote this of Hayden: “To this day Actor in a Supporting Role for Bob & Carol & Ted & Alice you sense shame in those people who knuckled under to the (1969). Some of his other appearances were in Little Hercules in witch-hunters. Sterling Hayden was one of the few among them 3-D (2008), The Caller (2008), The Deal (2008), Ocean's Thirteen who didn’t try to excuse himself, or to justify his actions. At one (2007), Open Window (2006), Ocean's Twelve (2004), "K Street" time he had been an actual card-carrying Communist but, under (2003), "" (1994-2003), Ocean's Eleven (2001), The Big the pressure of the Red Scare he changed his mind and decided Hit (1998), Inside Out (1997), "L.A. Law" (1993), (1991, that Communism was a danger to this country. He proceeded to The Telephone (1988), Conspiracy: The Trial of the Chicago 8 name names—including that of his best friend. As a result, this (1987), "E/R" (1984-1985), Over the Brooklyn Bridge (1984), The man went to prison and later died. Knowing Sterling, I’m sure he Devil and Max Devlin (1981), (1979), The believed he was doing the right thing at the time. But when the Lady Vanishes (1979), (1978), A Bridge Too Far full significance of his act was brought home to him, he was (1977), Harry and Walter Go to New York (1976), I Will, I Will... stricken with remorse. He openly declared that he was ashamed of for Now (1976), California Split (1974), S*P*Y*S (1974), The himself for what he had done, wrote a book which told about the Long Goodbye (1973), (1971), I Love My Wife episode, and dedicated it to his friend. Sterling is one of the few (1970), Move (1970), (1970), Airport (1970), actors I know who continued to grow over the years. I always felt M*A*S*H (1970), The Night They Raided Minsky's (1968), and great sympathy with him for this failure to live up to his own idea The Confession (1964). of himself. But even from this experience he learned and grew. There is a kingliness about Sterling now.”(An Open Book, 1980, NINA VAN PALLANDT (July 15, 1932, Copenhagen, Denmark) has p. 137) 25 acting credits. According to Wikipedia, she “married Frederik, Baron van Pallandt in 1960. They formed a singing duo, Nina & MARK RYDELL (March 23, 1934, ) has more Frederik, and achieved worldwide popularity with their calypso- directing (25) than acting credits (18). He was nominated for a style songs….They parted in 1969, and divorced in 1975. Frederik Best Director Oscar for On Golden Pond (1981). Some of his van Pallandt settled in the Philippines in the 1990s. He joined a other directing credits are Even Money (2006), Intersection major Australian crime syndicate, for which he provided (1994), The River (1984), The Rose (1979), Harry and Walter Go transportation for drug trafficking, and to New York (1976), Cinderella Liberty (1973), was shot dead with his second wife in (1972), The Reivers (1969), The 1994. In the early , Nina van Fox (1967), "Gunsmoke" (1964-1966), "The Pallandt was romantically linked to Fugitive" (1966), "The Wild Wild West" (1966), fellow Ibiza resident . In "I Spy" (1965), and "Ben Casey" (1963-1964). the 2007 film, , about Irving's As an actor he appeared in Even Money (2006), fake autobiography of , Ending (2002), Havana (1990), The Nina van Pallandt is portrayed by Julie Long Goodbye (1973), "As the World Turns" Delpy. The film starred , (1956), "The Edge of Night" (1956), and Crime who appeared with the real van Pallandt in the Streets (1956). in one of his earliest films, American Gigolo. She appeared in two other HENRY GIBSON (September 21, 1935, Altman films, Quintet (1970) and A Germantown, ) has 134 acting Wedding (1978). Some of her other films credits, including "Boston Legal" (2004-2008), were Time Out (1988), O.C. and Stiggs Big Stan (2007), "King of the Hill" (2005-2007), (1985), Cutter's Way (1981), American Wedding Crashers (2005), The Commission Gigolo (1980), Assault on Agathon (2003), Magnolia (1999), Stranger in the (1975), The Long Goodbye (1973), Kingdom (1998), Asylum (1997), Mother Night Mandolinen und Mondschein (1959), (1996), Escape to Witch Mountain (1995), Kærlighedens melodi (1959), Verdens "Tales from the Crypt" (1992), "Murder, She rigeste pige (1958), and Nina & Frederik Wrote" (1988-1992), Brenda Starr (1989), Night (1958). Visitor (1989), The Incredible Shrinking Woman (1981), HealtH (1980), The Blues Brothers STERLING HAYDEN (March 26, 1916, (1980), "The Dukes of Hazzard" (1980), Upper Montclair, New Jersey—May 23, "Wonder Woman" (1975-1978), The Last 1986, Sausalito, California, prostate Remake of Beau Geste (1977), The Long cancer) has 72 acting credits, including Goodbye (1973), Charlotte's Web (1973), Evil "The Blue and the Gray" (1982), Venom (1981), Gas (1981), Nine Roy Slade (1972), "Rowan & Martin's Laugh-In" (1968-1971), to Five (1980), The Outsider (1980), Winter Kills (1979), King of Kiss Me, Stupid (1964), "The Beverly Hillbillies" (1964), and The the Gypsies (1978), Novecento/1900 (1976), The Long Goodbye Nutty Professor (1963). (1973), (1972), Loving (1970), Hard Contract (1969), Dr. Strangelove or: How I Learned to Stop Worrying and DAVID CARRADINE (December 8, 1936, Hollywood) has 216, Love the Bomb (1964), Gun Battle at Monterey (1957), The Iron including Night of the Templar (2009, in post-production), The Altman—THE LONG GOODBYE—3

Rain Chronicles (2009, in post-production), My Suicide (2008, in King Shot (2009, in production), Three Stories About Joan (2009) post-production), Autumn (2009) (completed), Money to Burn (filming), Cassandra's Dream (2007), Melinda and Melinda (2008), (completed), Kandisha (2008) (completed), Detention (2004), Jersey Girl (2004), The Body (2001), The Argument (2008) (completed), Road of No Return (2009), Kung Fu Killer (1999), Assassins (1995), The Crossing Guard (1995), Maverick (2008), Richard III (2008), How to Rob a Bank (2007), Epic (1994), Intersection (1994), Sliver (1993), Stalin (1992), The Movie (2007), Final Move (2006), The Last Sect (2006), Brothers Bonfire of the Vanities (1990), The Two Jakes (1990), Fat Man in Arms (2005), Last Goodbye (2004), Kill Bill: Vol. 2 (2004), and Little Boy (1989), The Witches of Eastwick (1987), No Small Dead & Breakfast (2004), Bala perdida/Lost Bullet (2003), Kill Affair (1984), Table for Five (1983), Jinxed! (1982), Blow Out Bill: Vol. 1 (2003), Out of the Wilderness (2001), G.O.D. (2001), (1981), Heaven's Gate (1980), The Rose (1979), Flesh & Blood Dangerous Curves (2000), Natural Selection (1999), Knocking on (1979), Winter Kills (1979), Obsession (1976), Death Riders Death's Door (1999), An American Tail: The Treasure of (1976), The Sugarland Express (1974), Cinderella Liberty (1973), Manhattan Island (1998), Children of the Corn V: Fields of Scarecrow (1973), The Long Goodbye (1973), Deliverance Terror (1998), "Kung Fu: The Legend Continues" (1993-1997), (1972), Images (1972), The Ski Bum (1971), The Hired Hand The Good Life (1997), Macon County Jail (1997), Kill Zone (1971), McCabe & Mrs. Miller (1971), Red Sky at Morning (1993), Night Rhythms (1992), Capital Punishment (1991), The (1971), Futz! (1969), The Name of the Game Is Kill (1968), Mad Bunch (1989), Open Fire (1988), Warlords (1988), Animal Prelude (1968), Rat Fink (1965), Deadwood '76 (1965), The Protector (1988), Kung Fu: The Movie (1986), "North and South" Nasty Rabbit (1964), The Time Travelers (1964), Living Between (1985), On the Line (1984), The Warrior and the Sorceress Two Worlds (1963), and The Sadist (1963). (1984), Lone Wolf McQuade (1983), The Long Riders (1980), Gray Lady Down (1978), The Serpent's Egg (1977), Bound for Glory (1976), Cannonball! (1976), Death Race 2000 (1975), "Kung Fu" (1972-1975), Mean Streets (1973), The Long Goodbye (1973), Boxcar Bertha (1972), and "Shane" (1966)

ARNOLD SCHWARZENEGGER (July 30, 1947, Thal, Styria, Austria), presently governor of California, has 41 acting credits, including Kambakkht Ishq/Incredible Love (2009, post- production), Around the World in 80 Days (2004), The Rundown (2003), Terminator 3: Rise of the Machines (2003), Collateral Damage (2002), The 6th Day (2000), End of Days (1999), Batman & Robin (1997), T2 3-D: Battle Across Time (1996), Junior (1994), True Lies (1994), Last Action Hero (1993), Terminator 2: Judgment Day (1991), Kindergarten Cop (1990), Total Recall (1990), Twins (1988), The Running Man (1987), Predator (1987), Red Sonja (1985), The Terminator (1984), Conan the Destroyer (1984), Conan the Barbarian (1982), Scavenger Hunt (1979), Stay Hungry (1976), The Long Goodbye (1973), and Hercules in New York (1970).

JOHN WILLIAMS (February 8, 1932, Floral Park, Long Island, New York( has 82 music credits. He has six Oscars: Best Music, Original Score for Schindler's List (1993), Best Music, Original Score for E.T.: The Extra-Terrestrial (1982), Best Music, Original Score for Star Wars (1977), Best Music, Original Score for Jaws (1975), and Best Music, Scoring Adaptation and Original Song Albert Lindauer in World Film Directors VII. Ed. John Score for Fiddler on the Roof (1971). He also has dozens of Wideman. The H.W. Wilson Co. NY 1988. nominations: Munich (2005), Harry Potter and the Prisoner of Azkaban (2004), Artificial Intelligence: AI (2001), Harry Potter “When my grandfather opened a jewelry store in Kansas and the Sorcerer's Stone (2001), Angela's Ashes (1999), Saving City, he dropped one N from Altmann because they told him the Private Ryan (1998), Amistad (1997), Nixon (1995), Home Alone sign would be cheaper.” His father, a successful life insurance (1990), Born on the Fourth of July (1989, Indiana Jones and the broker, was an inveterate gambler. “I learned a lot about losing Last Crusade (1989), Indiana Jones and the Temple of Doom from him,” Altman told Aljean Harmetz. “That losing is an (1984), Raiders of the Lost Ark (1981), Close Encounters of the identity, that you can be a good loser and a bad winner; that none Third Kind (1977), The Poseidon Adventure (1972) and Valley of of it—gambling, money, winning or losing—has any real the Dolls (1967). value;...that it’s simply a way of killing time, like crossword puzzles.” The director’s own proclivity for gambling is well- VILMOS ZSIGMOND (June 16, 1930, Szeged, Hungary) has 83 known. cinematography credits. He was nominated for Best A lapsed Roman Catholic now, Altman was educated in Cinematography Oscars for The Black Dahlia (2006), The River Jesuit schools before joining the army at eighteen. During World (1984), The Deer Hunter (1978). He won for Close Encounters of War II he flew about 50 bombing missions over Borneo and the the Third Kind (1977). Some of his other films are Bolden! (2010, Dutch East Indies. post-production), The Great Observer (2009, post-production), Altman—THE LONG GOODBYE—4

He and a friend, Jim Rickard, set up as press agents for a so desperate for experienced directors that he had no trouble time and then invented a tattooing machine and a system for getting further assignments. By 1963 he was making $125,000 a identifying dogs. Before they went broke, they had tattooed year. At that point, mindful of “those hundreds of creative people President Truman’s dog in Washington. who have just died in television,” Altman formed his own TV and Altman says that he first got into film because “I failed at film production company, which would be known as Lion’s Gate everything else. I think I was originally attracted by the glamor Films, in partnership with Ray Wagner. They had difficulty and the adulation, and I thought I would be able to date Gloria De attracting backers, and Altman did little but run up gambling debts Haven.” With a friend named George W. George, he wrote and for the next few years.... sold to RKO the script for Richard Fleischer’s The Bodyguard (1948) and buoyed by this success, moved to New York , In a final break with television, Altman accepted an offer where he attempted to make a living writing stories and from Warner Brothers in 1966 to direct a low-budget space-flight screenplays. After an unproductive trip to the West Coast, he film, Countdown (1968). , , and returned to Kansas City to work on industrial films for the Calvin Robert Duvall, astronauts preparing for the moon shot, seem to be Company, where as set decorator, cameraman, producer, writer, permanently grounded by marital problems, alcoholism, rivalrous director, and film editor he learned to make movies himself. He jealousies, and petty politics. With just a few days of shooting left, also produced a series of short technical films for International Jack Warner asked to see the footage Altman had assembled. He Harvester, and at some point during this period made a second was appalled by its length and the overlapping dialogue, and fired unsuccessful attempt to break into the director.... Hollywood. In the summer of 1955, Ingo Preminger of 20th Century-Fox Altman decided to make a offered Altman a script for an armed commercial film on his own. He services comedy, adapted by Ring Lardner found a local backer who was Jr. From a novel by “Richard Hooker,” a willing to put up $63,000 for a film battlefield surgeon. More than a dozen about juvenile delinquency, wrote directors had turned this project down, but the script in five days, cast it, the 45-year-old Altman took it on and picked the location, drove the proceeded with the filming in such an generator truck, got the people unorthodox manner that at one point the together and took no money for alarmed male leads— himself....The film was completed and Elliott Gould—tried to get him taken in 1955 and two years later released off the job. through , which had M*A*S*H (1970), set during the acquired it for $150,000....The but with obvious references to Delinquents grossed nearly $1 Vietnam, follows the exploits of Hawkeye million. Pierce (Sutherland) and Trapper John With this promising debut in (Gould), two wisecracking young surgeons feature film production, plus some assigned to a Mobile Army Surgical sixty-five industrial films and Hospital unit not far from the front lines. documentaries to his credit, Altman was hired by Warner Brothers They work round the clock to salvage the wounded who are flown to coproduce (with George W. George) and direct The James in by helicopter from the front, and resort to liquor, sex, and a Dean Story (1957), the studio’s attempt to cash in on the series of ingenious and subversive pranks to keep from cracking burgeoning cult surrounding the dead star. under the strain. Their natural enemies are not the North Koreans but a pair of humorless inflexibles in their own camp—Major The film failed at the box office, but Alfred Hitchcock saw Frank Burns (Robert Duvall), an incompetent surgeon with a it and hired Altman to direct episodes for his CBS-TV series direct line to the Almighty, and Major Margaret Houlihan (Sally Alfred Hitchcock Presents. Altman completed two half-hour Kellerman), a highly competent nurse from a gung-ho regular programs–“The Young One” (1957) and “Together” (1958)– Army background. In the brutal practical joke at the film’s center, before being fired, and then went on to develop a very successful the heroes bug the bed the two Majors are using and broadcast television career in Los Angeles, working primarily as a director, their lovemaking over the PA system, sending Burns round the but also as a writer and producer. Over the next six years, he bend (and out of the war) and branding Houlihan with the name directed about twenty different shows for such series as Bonanza, “Hot-Lips.” Bus Stop, Combat, The Whirlybirds, and the Kraft Suspense It is quickly apparent in M*A*S*H that we are not dealing Theatre. He learned to work quickly and efficiently with limited with the innocuous highjinks and patriotic resolution of the budgets and tight shooting schedules, but he chaffed at the standard service comedy—both the humor and the vision of war restrictive conventions of commercial broadcasting. Since it was are too raw and too real. Altman creates a sense of battle fatigue impossible to vary the treatment of the hero in a series like by filling the wide Panavision screen with people and objects Combat, Altman would sometimes concentrate on secondary drained of any bright colors, except for the spurting blood in the characters instead, building them up over several episodes and operating room. To this visual denseness is added a bust then allowing their deaths to be casually reported in a later soundtrack, filled with overlapping dialogue, music, and PA installment. He also began to introduce “adult,” political, and announcements, often in broad contrast to what is happening on antiwar material into his shows, and to experiment with screen. The structure is episodic and the film rather tails off overlapping dialogue. He was regularly fired, but the industry was toward the end, but for most of its length it sustains an astonishing Altman—THE LONG GOODBYE—5 level of energy and invention. been told. I wanted to look at it through a different window, you called M*A*S*H “the best American war might say, but I still wanted to keep the poetry of the ballad.” The comedy since sound came in,” and most critics concurred. Not all film is a richly-textured mood piece, and although the story at once, however. Some were sickened by the gruesome realism of suggests that life was cheap on the frontier and that big money the surgery scenes that “stitch down” the picture, or put off by the (rather than individual enterprise) called the shots, elements of the apparent sexism and cruelty of some of the humor. “Hot-Lips is a production impose a distance on these ugly facts…. good deal more vulnerable than the men who torment her,” The Long Goodbye (1973) drew fire from critics who Vincent Canby wrote, “but the odd and disturbing suspicions that thought it a travesty of Raymond Chandler’s classic thriller. It is M*A*S*H’s good guys are essentially bastards are dropped set not in the 1940s but in the slick world of contemporary Los (unfortunately, I feel) in favor of conventional; sentiment.” Angeles, and a played by Elliott Gould, the heroic detective Philip Richard Schickel, however, thought that the film’s heroes might Marlowe is an unheroic and faintly anachronistic figure. He lives best be understood “as Robin Hoods of rationalism, robbing from in a rundown apartment, drives a ’48 Lincoln, and wears a the rich stockpiles of madness controlled by the people who make rumpled dark suit, and he is further set apart by a code of behavior (and manage) wars and doling it out in inoculating life-saving that requires him to deliver tough, stylish one-liners (met, as a doses to the little guys caught up in the mess.” rule, with a vacant stare or a quizzical shrug). His code also The film won the Golden Palm at Cannes and was requires that he function as a moral agent in a corrupt world and nominated for six , receiving one (for best this he does, sticking to his bewildering case until he discovers a screenplay). It earned $30 million for Twentieth Century-Fox in primal act of treachery. Then, outraged at his own naivete and at its first year alone, and went on to become one of the all-time top- te unforgivably casual tone of the confession, he simply draws his grossing pictures and, in a softened, sweeter form, the basis of a gun and blows the bad guy (Jim Bouton) away. In exploring the very successful television series. For directing the picture Altman implications of a 1940s style on the loose in a 1970s world, received a flat fee of $75,000. His son Michael, who wrote the Altman made a conscious decision to emphasize atmosphere and lyrics for the film’s theme song at the age of fourteen, is still characterization over plot, and the case is allowed to be as collecting royalties. confusing to us as it is to Marlowe. Many references to old With the success of M*A*S*H, Altman was recognized as movies—underscored by the playing of “Hooray for a major talent. He received many offers to do big-budget studio Hollywood”—point up the fantasy-element in Marlowe’s persona. productions, but opted instead to experiment with a small An integral part of the emphasis on atmosphere is provided production at his own Lion’s Gate Films. Brewster McCloud by the camera movement. Altman and Zsigmond decided to (1970) is about an alienated young man who wants to fly.... The experiment with unmotivated, constantly moving shots, hoping film was a failure at the box office, with critical reactions the audience would accept this as a style and that it would create mixed... It has since become a cult item and has been described by an interesting three-dimensional feeling all through the film. Altman as his own favorite: I wouldn’t say it’s my best film. . . Zsigmond ultimately received an award (from the National “It’s my favorite because I took more chances then. It was my Society of Film Critics) for his cinematography on this picture. boldest work, by far my most ambitious.” Michael Tarantino’s analysis of the camerawork shows how the His next project harked back to his Bonanza days. For a moving camera establishes Marlowe’s relationship to the world long time Altman had “wanted to take a very standard Western around him and affects the audience’s relationship to the film. story with a classic line and do it real, or what I felt was real, and Jonathan Rosenbaum’s complementary analysis does the same destroy all the myths of heroism.” With the ideas from an Edmund thing for the musical soundtrack. Naughton novel and a script based on it by Brian McKay, he set to work on McCabe and Mrs. Miller (1971). Altman has always California Split is the first film of Altman’s to credit “Lion’s Gate preferred a loose, freewheeling method of filmmaking in which 8-Track Sound,” though the director had used multiple tracks and actors are encourages to flesh out their roles through overlapping voices in many of his earlier pictures. With the 8- improvisation. During rehearsal, and to contribute dialogue and track system, Altman could record sound live from microphones even plot points to the scenario. Not all the material so developed planted on set or on location, eliminating a lot of cumbersome will appear in the completed film, but the process can subtly equipment as well as the necessity of postdubbing. He could also modify the events on the screen, suggesting that they spring from mix and unmix the sound at will. This advanced technology was a context of ongoing, abundant life. And of course it is a style of exploited to the full in his next film, Nashville (1975), to create a filmmaking that appeals strongly to many performers. Altman had virtual sound collage; in addition to the eight tracks for dialogue, carried over cast and crew members from M*A*S*H to Brewster sixteen more were used for musical numbers and background. McCloud, assembling a sort of repertory company, and now he Nashville is Altman’s triumph. The high point of his film moved those people and his stars to a mountain near Vancouver, career. Innovative techniques are used with dazzling success to where they helped build and at times virtually lived in the set for a relate the stories of twenty-four major characters who are frontier town of 1902. plays the braggart McCabe, involved in a Nashville music festival and political rally. The film who prospers by setting up a bordello with the help of an opium- interweaves its characters in a complex, discursive manner, smoking whore named Mrs. Miller, played by Julie Christie. without special emphasis on any single story, cutting from Indeed, McCabe does so well that a large mining corporation character to character as the viewer gradually discerns the decides to buy up his business, and when he cockily refuses to connections–family, business, romantic–between these people. sell, hires three killers to gun him down. As he dodges and stalks Altman has explained that each character can be broken down to these men in the snow, Mr. Miller withdraws into an opium an archetype. “We carefully picked those archetypes to represent a dream. cross-section of the whole culture, heightened by the country Altman had said that he wanted “to illustrate a heroic music scene and extreme nationalism or regionalism of a city like ballad. Yes, these events took place, but not in the way you’ve Nashville”–a city with an image of great wealth and instant Altman—THE LONG GOODBYE—6 popular success, like Hollywood forty years ago. “Another thing As Robin Wood points out, the relationship of a film like Nashville signifies is that we don’t listen to words any more. The McCabe and Mrs. Miller or The Long Goodbye to its genre is words of a country song are as predictable as the words of a “more complex and constructive” than simple satire; Raymond politician’s speech.” There are plenty of both in Nashville; the Durgnat has argued that in films like these the director similarities between show business and politics are at the heart of “systematically reopened the questions and off-key possibilities the film’s disenchanted view of contemporary life. which genres may tend to close.” Altman’s principal weapon Asked to develop a script that would deal with the country against the neat artifices of conventional storytelling has always music scene (and end with a death), Joan Tewkesbury had been the busy confusion of real life, which he has suggested in his provided an “open” screenplay, leaving situations for Altman to films by a profusion of sounds and images, by huge casts or crazy fill out, then for the actors to fill out, and lastly for the audience, characters, multiple plots or no plots at all; and which he has as the twenty-fifth character, to interpret. (“I try to allow each invited into his filmmaking by his reliance on improvisation. It individual to actually see and experience a different film,” the does not particularly worry him that audiences may miss director once said.) A fair amount of the dialogue was developed something on screen or on the soundtrack; it would worry him if in rehearsal, and most of the original songs were written by the they didn’t, for he believes that viewers ought to be able to look at performers themselves, with the help of music director Richard a movie several times and still find something new. Baskin. Despite the size of the cast and the improvisational aspects of the project, the location work proceeded smoothly, in In an essay in Richard Roud’s Cinema: A Critical the relaxed atmosphere of a summer-camp. A favored-nations Dictionary (1980), Wood credits Altman with making “artistic contract clause among the stars had them each receive the same sense out of the dominant technical devices of modern cinema, the amount of money. Nashville was shot for about $2 million in less telephoto and zoom lenses,” devices that tend to create a sense of than 45 days. “dreamlike uncertainty, of instability and loss of control. . . . Altman described the experience as almost like making a Altman’s films reveal a consistent, recurring pattern to which documentary. “What we did was sort of set up events and then these stylistic strategies are peculiarly appropriate. The just press the button and photograph them.” As he usually does, protagonist, initially confident of his ability to cope with what he he shot the scenes basically undertakes, gradually discovers that in sequence, from first to his control is an illusion; he has last; he ended up with involved himself in a process of which 300,000 feet of film (about his understanding is far from complete twice the amount normally and which will probably end in his needed for a feature). For a own destruction.” Wood thinks that brief time he entertained the Altman himself “often seems only notion of making two movies partly in control of the effects he instead of one, but then creates”–the result perhaps, of a began to edit the footage gambler’s approach to filmmaking. It down to a single feature, is generally agreed that his films cutting progressively shorter versions, from 8 to 6 to 3 ½ hours in constitute an uneven body of work, and most have not been length. commercially successful. Pauline Kael described his method as Before the final version was assembled, Pauline Kael saw “exploratory”–“an intuitive, quixotic, essentially impractical and ecstatically reviewed for The New Yorker a three-hour rough approach to moviemaking.” cut. She called it “an orgy without excess” for movie-lovers. “It’s a pure emotional high and you don’t come down when the picture In 1976 Bruce Williamson described Altman as “convivial, is over.” She urged Paramount Pictures to release this version, but erratic, difficult, generous, funny, vulnerable and incredibly, Altman himself determined the final length–159 minutes. sometimes bitingly, perceptive about people. In physical Some reviewers called Nashville the movie of the seventies appearance, he has been compared to Santa Claus, that all others would be measured against. Others saw it as an Mephistopheles and a benevolent Captain Bligh, and he fits all unfocused, inaccurate mess, without even the consolation of three descriptions.” genuine Nashville stars. Charles Derry in The St. James Film Directors Encyclopedia. The subject of Three Women (1977) reputedly came to Ed. Andrew Sarris. Visible Ink, 1998. Altman in a dream that he had when his wife was faced with . . .The older Robert Altman, perhaps that decade’s [70s] surgery–a movie-like dream complete with title, scenery, and most consistent chronicler of human behavior, could be actresses and already cast. characterized as the artistic rebel most committed to an unswerving personal vision. If the generation of whiz kids tends Altman insists, “I love Quintet–it’s exactly the movie I to admire the American cinema as well as its structures of wanted to make, and it turned out exactly the way I wanted it to production, Altman tends to regard the American cinema critically turn out.” Pauline Kael said, “Altman has reached the point of and to view the production establishment more as an adversary to wearing his failures like medals. He’s creating a mystique of be cunningly exploited on the way to almost European ambiguity. heroism out of emptied theaters.” While a visiting professor at the University of Michigan, Like Bergman, Altman has worked often with a stock company of Altman financed and filmed (1984) in a residence performers who appear in one role after another, among them hall with student assistants. Elliott Gould, , Rene Auberjonois, Keith Carradine, Shelley Duvall, Michael Murphy, Bert Remsen, and Altman—THE LONG GOODBYE—7

Henry Gibson. clearly showed him exactly what needed to be done, just so that Altman’s distinctive style transforms whatever subject he he could later undo it. Once liberated from the standard demands approaches. He often takes advantage of widescreen compositions of master shot and close-ups to be handed over to an unseen in which the frame is filled with a number of subjects and details editor, Altman began to allow himself to roam free, drifting that complete for the spectator’s attention. Working with around a scene like a bloodhound following the scent, zooming cinematographer Vilmos Zsigmond, he has achieved films that are almost casually on to significant details or simply making surprise visually distinguished and tend toward the atmospheric. connections. By putting separate microphones on his actors, he Especially notable are the use of the zoom lens in the smoky found that not only could the camera be distant from the action, cinematography of McCabe and Mrs. Miller; the reds, whites and removing the performer’s need to be aware of its position, but that blues of Nashville; the constantly mobile camera, specially he could also mix the sound to catch one conversation while mounted, of The Long Goodbye, which so effortlessly reflects the filtering out another. All this contributed to Altman’s hazy moral center of the world the film presents; and the pastel determination to convey the fleeting nature of life as we prettiness of A Wedding, particularly the first appearance of that experience it, with all the frustration of its lack of precision and icon of the American cinema, Lillian Gish, whose subsequent film the pleasure of happy accidents. death propels the narrative. And what of Altman’s actual preoccupations? These have always been harder to pin down, since by his own account so As a postscript on Altman, one should add that he, more many of his projects have seemingly come about through than any other director, should never be counted out as an serendipity. But often he has revealed his keen eye for the essence important force in American film culture. If his work is of the American character and has brilliantly undermined empty sometimes uneven, the fact that he continues to work on projects myths, be they of the glory of the Old West, the earnest homilies which are political, ideological, and personal—refusing to of country-and-western music or the splendour of wealth. compromise his own artistic vision—is a sign that he remains, even in his seventies, the United States’ single most ambitious auteur.

Altman on Altman Ed. David Thompson. Faber and Faber, London, 2006

Whenever Robert Altman is asked about his philosophy of film-making, his answer is usually along these lines: “It’s the doing that’s the important thing. I equate film-making with making sandcastles. You get a bunch of mates together and go down to the beach and build a great sandcastle. You sit back and have a beer, the tide comes in, and in twenty minutes it’s just smooth sand. That structure that you made is in everybody’s memories, and that’s it. You all start walking home, and somebody says, ‘Are you going to come back next Saturday and build another one?’ And another guy says, ‘well, OK, but I’ll do from Altman on Altman. Ed. David Thompson. Faber & moats this time, not turrets!’ But that, for me, is the real joy of it Faber, London, 2006. all, that it’s just fun, and nothing else.” Altman’s sandcastle analogy—which has provided the Foreword By Paul Thomas Anderson name of his production company and office—has remained It feels home-grown and handmade. There have been a hundred consistent throughout his career, one of the most extensive and who have tried to be Altman—or Altmanesque—but they miss adventurous to be found in the history of American cinema. He that certain ingredient: they aren’t him. There’s no-one like him. didn’t begin as a studio tea boy or a precocious student but He can be imitated and he can influence, but he’s impossible to learned his craft by making what would now be called corporate catch up with or cage—he’s unpredictable, and the river he films in a wholly commercial world that explained the rules and follows is his own. He’s stubborn and giving and petulant and techniques of a sport or the need for better road safety. From this, comforting, and he has the best smile a movie director has ever he graduated to television; not to the brow-beating socially had. A man from Kansas City who fought in wars, who tattooed conscious live drama that spawned Sidney Lumet and John dogs, who wrote songs and punched producers. He puffed out his Frankenheimer, but, rather, to inside the factory, churning out chest and had a formula for chicken-shit plastered on his popular series based around simple concepts, likeable character motorcycle helmet. actors and solid genre situations. Little of this prepared the world You can’t call too many film directors artists. But Bob is. for the battered visuals, explosive humor and ‘fuck ’em’ attitude … watching his films as a fan, then later as an observer on his of M*A*S*H which shocked the industry above all for being made sets, one thing holds true: it’s impossible to see where the not by a bearded ‘movie brat’ but a seasoned player of forty-five conversation ends and the scene begins. It all feels like a dress years of age…. rehearsal, and before there’s too much time to think or second- Putting aside the sheer volume of his work, it is Altman’s guess, he’s moved on. Say something once, why say it again? As turning upside down of movie conventions—the constant he likes to say, ‘Lets get to the verb.’... throwing out of the rule book—that has made him such a commanding presence. Surviving the constraints of little time and money in delivering hours and hours of generic television series Altman—THE LONG GOODBYE—8

“The Long Goodbye” He had written a book while there, a faux Chandler story. So he wrote about Marlowe at a later date. And he had seen The Long The Long Goodbye, based on Raymond Chandler’s novel Goodbye in prison, where they’d run it a umber of times. He said featuring his private detective Philip Marlowe investigating the to me that since he had no way of knowing of what Los Angeles aftermath of a friend’s supposed suicide, was originally going to was like, he hoped I would forgive him that in his book he’d taken be directed by Peter Bogdanovich, and a screenplay had been the film and described all the places that Marlowe went to as if commissioned from Leigh Brackett, who’d written the 1946 that was it. So he used my conceit to create his own conceit. version of The Big Sleep, starring and Lauren Bacall and directed by . We never leave Marlowe’s side throughout the film. Marlowe was in every scene in the film, because it was his Wasn’t this an instance when you actually felt enthused by the viewpoint. And when he was at the beach house, where Nina Van script? Pallandt and Sterling Hayden had some scenes on their own, I Originally I didn’t want to do the picture. I’d enjoyed reading didn’t know what to do. So I had Sterling say, ‘Marlowe, go down Chandler, though I never did finish The Long Goodbye, and I’d and count the waves, my wife and I are going to talk.’ And they liked those 1940s movies, but I just didn’t want to play around sent him down to the beach, but I kept his reflection in the with them. I was in Ireland shooting Images, and Elliott Kastner window so that he was always present in a way. and Jerry Bick sent me the script. At first I said, ‘I don’t want to do Raymond Chandler. If you say “Philip Marlowe”, people just think of Humphrey Bogart.’ was being proposed for it. But I just didn’t want to do another Philip Marlowe film and have it wrap up the same way all the other films did. I think it was David Picker, the production chief at United Artists, who suggested Elliott Gould for Marlowe—and then I was interested. So I read Leigh Brackett’s script, and in her version, in the last scene, Marlowe pulled out his gun and killed his best friend, Terry Lennox. It was so out of character for Marlowe, I said, ‘I’ll do the picture, but you cannot change that ending! It must be in the contract.’ They all agreed, which was very surprising. If she hadn’t written that ending, I guarantee I wouldn’t have done it. It said, ‘This is just a movie.’ After that, we had him do his funny How did the extraordinary way you used the camera, as if it was little dance down the road and you hear ‘Hooray for Hollywood’. another character constantly stalking the action, evolve? It even looked like a road made in a Hollywood studio. And with I decided that the camera should never stop moving. It was Eileen Wade driving past, it’s The Third Man! arbitrary. We would just put the camera on a dolly and everything I remember at the première I had a publicist named Regina would move or pan, but it didn’t match the action; usually it was Gruss, and she had an older sister, probably in her fifties. When counter to it. It gave me that feeling that when the audience see the film was over and everybody was saying they loved the film, they’re a kind of voyeur. You’re looking at something everybody, I was going down the aisle, and she came up to me you shouldn’t be looking at. Not that what you’re seeing is off and said,’ Mr. Altman, isn’t he going to get into trouble for limits; just that you’re not supposed to be there. You had to see that…?’ She just couldn’t believe that we could have such an over someone’s shoulder or peer round someone’s back. I think ending. that in so many films everything’s so beautiful, the lighting is gorgeous and with each shot everything is relit. My method also Was the idea of Marlowe’s cat in the original script? means you don’t have to light for closeups; you only have to No, that came from a story a friend told me about his cat only accommodate what may happen, so you just light the scene and it eating one type of cat food. It serves as a comment on friendship, saves a lot of time. The rougher it looked, the better it served my and it tied in with the ending, because Marlowe thought Terry purpose. Lennox was his great friend, and he had gone missing. His cat was I was worried about the harsh light of southern California around only when he got fed, and when he didn’t, the cat was and I wanted to give the film the soft, pastel look you see on old gone too… postcards from the 1940s. So we post-flashed the film even further than we did on McCabe, almost 100 per cent, I believe. The film makes amusing play between this character from a novel written in 1953 and the Los Angeles of 1973. Did these artistic choices worry anybody? I decided we were going to call him Rip Van Marlowe, as if he’d No one gave me any trouble, but then nobody knew what I was been asleep for twenty years, had woken up and was wandering talking about….The people I had to be responsible to, they didn’t through this landscape of the early 1970s but trying to evoke the know what I was doing. If I had made the film ten years earlier morals of a previous era. I put him in that dark suit, white shirt under the studio system, the head of the camera department would and tie, while everyone else was smelling incense and smoking have come to me and complained. In fact, the head of editing at pot and going topless; everything was health food and exercise Fox said to me about M*A*S*H, ‘We can’t show the film. It’s out and cool. So we just satirized that whole time. And that’s why that of focus, it’s soft.’ They were shooting Patton at the same time, line of Elliott’s—’It’s OK with me’—became his key line and after a period of time seeing the dailies from that film and our throughout the film. dailies, they were sending messages to the director Frank Many years later I got a letter from a guy who had been in Schaffner in Spain, saying, ‘This doesn’t look dirty or real prison in Ecuador for about twelve years, and he was getting out. enough!’ Altman—THE LONG GOODBYE—9

movie.’ Then, when we were about to leave not one of us had any How were your relations with Elliott Gould after M*A*S*H? money or credit cards at all, so I said, ‘You’ll have to trust us with I actually offered him the lead in McCabe & Mrs. Miller, but he this cheque. I’ll come back tonight with a credit card.’ And she turned it down. After M*A*S*H he came to me and said that at went, ‘Oh God, don’t try that one!’ first Donald and he didn’t think I knew what I was doing, but now Anyway, we shot the bottle scene, and in the next scene he realized that he’d made a dreadful mistake. she had her jaw wired up and her nose bandaged up. After the movie was over she got an agent, went to MGM and had a couple Casting Nina Van Pallandt, who was best of small roles. She played a nurse in the Dr. known as one half of that Scandinavian Kildare series or something. Then that petered singing duo Nina and Frederick, must have out and she ended up back on the bar circuit, caused a few jaws to drop. living down in Malibu. Seven years later, United Artists didn’t want me to use her. she’s living in a house with four other girls, I’d only seen her on The Johnny Carson and she comes home about two-thirty in the Show, when she was mixed up with the morning and these people were all crazy on Clifford Irving scandal, and I thought she drugs. She went into her bedroom, closed the was just Chandler’s blonde. But they let me door, and one of these guys at the party do a test. Laszlo Kovacs shot it with her suddenly opened the door and jumped on her. and Elliott, and then they saw it and said, She started screaming, and he literally bit her ‘Great, go ahead.’ But later David Picker nose off. Then he jumped out of the window told me they were going to say I couldn’t and killed himself on the rocks below. So use her. Other than that, I had control of all seven years later she ended up looking exactly the casting. like she had as Marty Augustine’s girlfriend. Now that’s spooky…. Sterling Hayden, who many thought was washed up and in decline after his naming For an audience today, the strangest member names to HUAC, was also quite a risk. of the cast has to be one Arnold I originally wanted Dan Blocker for the Schwarzenegger. role, but he died just before shooting His name was Arnold Strong at the time. began, and I was persuaded to meet Sterling, who was just perfect. David Arkin, who was playing one of the sidekicks said to me, He improvised a lot of his dialogue, and he was pretty well ‘I’ve got a friend, he’s just terrific, he’s got the damnedest whacked out all the time. He was an alcoholic, and when he muscles you’ve ever seen.’ I said, ‘Fine, bring him along, we’ll smoked grass and had the booze in him he was something else. use him as one of our guys.’ Arnold doesn’t talk about it now But he was wonderful. I loved him. though—he doesn’t remember the film.

In the Chandler novel, Roger Wade is actually murdered, but you The use of music is very witty and original, with the same theme changed that into a suicide. turning up in different styles and orchestrations appropriate to the I gave everyone on the film a copy of Raymond Chandler scene. Speaking to read, because I wanted them to know about his I went to Johnny Williams, and he wrote this song with Johnny fascination with suicide. For me, Wade was Chandler, someone Mercer, ‘The Long Goodbye’, and I came up with the idea of who didn’t want to struggle any more. He’s also like Irwin Shaw, using it everywhere. And Johnny started paraphrasing it in all James Jones or Ernest Hemingway—very macho, a heavy drinker, these different versions, even down to a doorbell and the band in out of his time. Mexico. I’ve always said that at the beginning of conceiving a film, ‘I’d love music to be indigenous, so that there’s not going to The director Mark Rydell made a great impression as Marty be any violins that you can’t see, that it won’t come from Augustine, especially in the scene where he threatens Marlowe by nowhere.’ I’ve never completely achieved that, though in The callously smashing a Coke bottle in the face of his pretty Long Goodbye the music became a character in itself. girlfriend. The reason we have to have music in films is to put a He had done The Cowboys with John Wayne, and we were all in cocoon around it, so the audience doesn’t become conscious of London together at the same time with Johnny Williams, working other people or embarrassed by being there. The music is a kind on Images. When I got back to Los Angeles I asked him if he of tunnel to help keep your focus. I don’t understand music, but wanted to play Marty Augustine. it’s something that can be so visceral and inside you, and I try not I was living at that same house in Malibu that we shot as to lead what the action is going to be—I mean, we don’t hit those the Wades’ house. Elliott, Mark, me, my wife and four or five chords so you think, ‘Oh, I’m going to get scared.’ One day I’ll do others were in that house all day and we were drunk, ripped and a film without any music. I almost did it with The Gingerbread stoned. We planned to go for dinner, but before we left, I came up Man, but then … with this scene with the Coke bottle, and we thought that was great. Then we went up to a beach restaurant, four of us, and there How was the movie received? was this waitress who was looking after us. I said, ‘Look at her When the picture opened, it was a big, big flop. It opened in Los face, that’s the kind of girl who should be Marty Augustine’s girl, Angeles and Chicago and a few other cities, and the ad campaign the one he should hit with the Coke bottle.’ So I talked to her and was Elliott with a cat on his shoulder, a smoking .45 and a said, ‘I know this sounds silly, but you know who these guys are, cigarette in his mouth, with Nina as a slick blonde beside him. Elliott Gould and so on, and we think you’d be perfect for our And it just failed. I went to David Picker and said, ‘You can’t do Altman—THE LONG GOODBYE—10 this. No wonder the fucking picture is failing. It’s giving the "California Split" and "Nashville" (1975) — still look like the wrong impression. You make it look like a thriller and it’s not, it’s core of his achievement: to paraphrase Raymond Carver (whose a satire.’ So they pulled the film, and we got Jack Davis from Mad work Mr. Altman adapted in his 1992 film ""), they are magazine to do a new poster with all the characters, and we what we talk about when we talk about Robert Altman. That's not opened it in New York and it was a smash hit. By the time that to say that the two dozen feature films he has managed to direct in happened, it was too late for Los Angeles and those other cities. If the last 30 years are negligible (though there isn't a power on New York had been our first opening, we would have had earth, or beyond, that could persuade me to sit through "Quintet," successful film. But the film has stood up over the years, in a "Health," "Prêt-à-Porter" or "The Company" again), or that Mr. strange way. Some British critics didn’t like Elliott Gould playing Altman's skill has in any way diminished with age: the silky Philip Marlowe, and I was confused about that, because I had read command of "Gosford Park" (2001) is ample proof that it hasn't. a lot of the books, and what Chandler wrote was really a bunch of It's just that in the early 70's the conditions were right for Mr. thumbnail sketches or thematic essays, all about Los Angeles, and Altman's loose-jointed, intuitive, risk-courting approach to Marlowe was just a device to unite them, and I felt we were very making movies, and the planets over Hollywood haven't aligned close to that. Everyone said Elliott’s not Philip Marlowe and I themselves in that way since. The wondrous opportunity those wasn’t being true to the author, but what they were really saying years afforded adventurous filmmakers like him was that studio was that Elliott Gould wasn’t Humphrey Bogart. In fact, I believe executives, for once in their ignoble history, actually knew that we were closer to Chandler’s character than any of the other they had no idea what they were doing: a man who could deliver renditions, where they made him a kind of movie superhero. the elusive, mysterious (to them) youth market, as the 45-year-old director of "M*A*S*H" somehow did, became a mighty valuable From Terrence Rafferty, “Robert Altman’s Long Goodbye,” commodity. NY Times, 19 February 2006: …What strikes you, in fact, when you watch "Nashville" or its Like King Vidor, who had to hang in for 85 years to cop a thanks- three immediate predecessors, "The Long Goodbye," "Thieves for-the memories statuette, Mr. Altman has five best-director Like Us" and "California Split," is how fundamentally grim Mr. nominations and zero Oscars to show for a long and prolific Altman's vision of American life is — and how little that career, so he pretty emphatically qualifies as overdue. He has been persistent, deep-seated, unshakable disillusion actually affects the overdue for 30 years. tone of the movies. All the characters in those pictures are in one Hollywood has in fact never known quite what to make of Mr. way or another disappointed, but disappointment doesn't appear to Altman, who seemed to come out of nowhere with "M*A*S*H" be a big deal for Mr. Altman. Maybe because he had to wait so in 1970 and, despite the industry's best efforts to send him back long to fulfill his artistic ambitions, because he arrived so late to there, wouldn't go away. With the kind of weird, inexplicable the Hollywood party, he seems to know (every one of his movies gambler's instinct he would explore, hilariously, in "California says it) that disappointment never killed anybody. "It's O.K. with Split" (1974), Mr. Altman parlayed his winnings from me" is the dopey mantra of Mr. Gould's Phillip Marlowe in "The "M*A*S*H" — which remains by far the biggest hit of his career Long Goodbye"; the crowd at the end of "Nashville," shocked by — into an exhilarating half-decade run of high-stakes an act of sudden violence, gets over its horror by singing along to moviemaking: seven pictures in the next five years, of which five a tune called "It Don't Worry Me." And although in both pictures are, like "M*A*S*H," at least arguably masterpieces. the effect is ironic, in neither case is it wholly ironic. On some Those great films — "M*A*S*H," "McCabe & Mrs. Miller" level, Mr. Altman shrugs along with his characters. (1971), "The Long Goodbye" (1973), "Thieves Like Us" (1974),

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FIVE MORE TO GO IN BUFFALO FILM SEMINARS XVIII: March 24 Andrei Tarkovsky: NOSTALGHIA1983 March 31 Larisa Shepitko THE ASCENT/VOSKHOZHDENIYE 1977 April 7 Warren Beatty REDS 1981 April 14 32 SHORT FILMS ABOUT GLENN GOULD April 21 Pedro Almodóvar ALL ABOUT MY MOTHER/TODO SOBRE MI MADRE 1999 CONTACTS: ...email Diane Christian: [email protected] …email Bruce Jackson [email protected] ...for the series schedule, annotations, links and updates: http://buffalofilmseminars.com ...to subscribe to the weekly email informational notes, send an email to addto [email protected] ....for cast and crew info on any film: http://imdb.com/

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