Word: mccabe
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...them. For instance, cinematographer Boffety would have been unavailable had the film been made in New York or Los Angeles; the union would have prohibited him from working. Boffety, distinguished by his work on European productions like The Things of Life, joins Vilmos Zsigmond, who worked with Altman in McCabe and Mrs. Miller and The Long Goodbye, on the list of the world's expert cameramen used in Altman films...
...thing about Hollywood, in Altman's view, is that it can only sell films according to category. And most of his films, from McCabe's special version of the Western to The Long Goodbye's innovations in the Chandler tradition, seek to break out of or enlarge genres. Thieves, with all its similarities to Bonnie and Clyde--robbers enjoying their descriptions in the papers, the shoot out at the motor court--cuts a new trail as well. Altman hopes it will do better when he takes it to the Cannes Festival, where M*A*S*H was a grand prize...
...seriously Altman takes his film-making is indicated by some of the stories surrounding the filming of McCabe and Mrs. Miller. On location in the wilds of British Columbia, Altman had the entire cast work on constructing the set--a whole town at the edge of the late frontier--to bring the cast together. He put objects in drawers that would never be opened to heighten the actors' sense of authenticity. He has used a similar care in the choice of his actors: many of those in Thieves are non-professionals. These include the producer's wife, and star Shelley...
...Altman says, he much prefers the professional actor or actress if available. Rarely have Hollywood or the acting schools appreciated someone of Shelley Duvall's gentle, engaging plainness and authenticity. And yet a more conventional star, Julie Christie, whom Altman used to brilliant advantage in McCabe, would normally be beyond the budgets he now has to work with. In planning his latest feature, Nashville, to be shot beginning in July, Altman recognized that one of the parts "is really...
Robert Altman's recent movies (M*A*S*H, McCabe and Mrs. Miller and The Long Goodbye) are like model kits. Each one comes in little pieces, some of which are lovingly and intricately fashioned. Each is made to scale for a specific genre: the service comedy, the western, the private-eye melodrama. Altman encloses no instructions, though. That is the challenge and the catch, and accounts in part for the appeal his films exercise for many critics. It is not that Altman movies are open-ended so much as that they are any-ended. They can be assembled...