Is there an issue? Send a MessageReason:
None
* TheFilmOfThePlay: After the disappointing box office returns for ''Film/{{Popeye}}'', Altman started directing theatre, where he had more freedom and didn't need to answer to Hollywood money people. Realizing that filmed versions of plays were a good way to get back on the screen without spending much money and targeting a more selective audience, he spend the majority of TheEighties doing these, both theatrical and for television.
Changed line(s) 69 (click to see context) from:
* NameAndName: ''Movie/McCabeAndMrsMiller'', ''O.C. & Stiggs'', ''Vincent & Theo''.
to:
* NameAndName: ''Movie/McCabeAndMrsMiller'', ''Film/McCabeAndMrsMiller'', ''O.C. & Stiggs'', ''Vincent & Theo''.Theo''.
* NewSoundAlbum: He directed both the Broadway production and TheFilmOfThePlay of Ed Graczyk's ''Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean'', which started a new phase of his career in TheEighties. Since directing plays precluded him from his signature use of improv and last-second script changes, and plays generally don't have LoadsAndLoadsOfCharacters, it marked a huge stylistic shift for him.
* NewSoundAlbum: He directed both the Broadway production and TheFilmOfThePlay of Ed Graczyk's ''Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean'', which started a new phase of his career in TheEighties. Since directing plays precluded him from his signature use of improv and last-second script changes, and plays generally don't have LoadsAndLoadsOfCharacters, it marked a huge stylistic shift for him.
Is there an issue? Send a MessageReason:
None
Changed line(s) 77 (click to see context) from:
* SignatureStyle: Frequent use of panning and zooming, overlapping dialogue, ambient sound as a prominent part of the audio mix, LoadsAndLoadsOfCharacters and episodic plots with plenty of NarrativeFiligree, to name the most obvious things. There are also many individual motifs he was fond of that show up in most of his films, like shooting scenes through a window, or having a character speak with a cigarette or pipe in their mouth.
to:
* SignatureStyle: Frequent LoadsAndLoadsOfCharacters, frequent use of panning and zooming, overlapping dialogue, ambient sound as a prominent part of the audio mix, LoadsAndLoadsOfCharacters GreyAndGrayMorality and episodic plots with plenty of NarrativeFiligree, to name the most obvious things. There are also many individual motifs he was fond of that show up in most of his films, like shooting scenes through a window, or having a character speak with a cigarette or pipe in their mouth.
Is there an issue? Send a MessageReason:
None
Changed line(s) 1,2 (click to see context) from:
[[quoteright:300:http://static.tvtropes.org/pmwiki/pub/images/robert_altman_6864.jpg]]
to:
Is there an issue? Send a MessageReason:
None
Changed line(s) 41 (click to see context) from:
!!Other tropes included in Robert Altman's works:
to:
!!Other tropes included in associated with Robert Altman's works:Altman:
* AscendedExtra: Literally. A 22-year-old Altman was an extra in ''Film/TheSecretLifeOfWalterMitty1947''. His scene's about twenty minutes into the film, sitting at a bar behind Creator/DannyKaye, pouring a drink, blowing cigarette smoke through his nose, and mugging a little for the camera.
* AscendedExtra: Literally. A 22-year-old Altman was an extra in ''Film/TheSecretLifeOfWalterMitty1947''. His scene's about twenty minutes into the film, sitting at a bar behind Creator/DannyKaye, pouring a drink, blowing cigarette smoke through his nose, and mugging a little for the camera.
Is there an issue? Send a MessageReason:
None
Changed line(s) 77 (click to see context) from:
* SlidingScaleOfIdealismVsCynicism: Almost all of his films with perhaps the exceptions of ''Popeye''and ''APerfectCouple'' are heavily on the harsh, cynical end of the scale.
to:
* SlidingScaleOfIdealismVsCynicism: Almost all Many films of his films with perhaps can go more towards the exceptions cynical end of the scale, but some of them such as ''Popeye''and ''APerfectCouple'' ''ThePerfectCouple'' are heavily more on the harsh, cynical end of the scale.idealistic end.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* BenevolentBoss: Robert Altman appeared to be a NiceGuy in real life. He was an artist to wanted to make something his own way but was usually quite supportive of the people he worked with.
Is there an issue? Send a MessageReason:
None
Changed line(s) 57 (click to see context) from:
* HumansAreBastards: Although Altman loved people in real life, his films portrayed humans at their worst.
to:
* HumansAreBastards: Although Altman loved people in real life, his films portrayed humans at their worst.though it would be likely come across a character in each film who committed adultery, showed selfishness, or had jerkass tendencies.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* HumansAreBastards: Although Altman loved people in real life, his films portrayed humans at their worst.
Added DiffLines:
* SlidingScaleOfIdealismVsCynicism: Almost all of his films with perhaps the exceptions of ''Popeye''and ''APerfectCouple'' are heavily on the harsh, cynical end of the scale.
Is there an issue? Send a MessageReason:
None
Changed line(s) 5,6 (click to see context) from:
Robert Bernard Altman (1925–2006) was an American film director, producer, and screenwriter, who came to prominence in the UsefulNotes/NewHollywood era. He was the most prolific of that generation, the most political and critical director of his time, and the one who retained his independent spirit even when that era ended, and retained it until his final film. He developed a reputation as the industry maverick whose films were admired but little loved, but eventually he came to be seen as one of America's greatest and most original film-makers.
to:
Robert Bernard Altman (1925–2006) (February 20, 1925 – November 20, 2006) was an American film director, producer, and screenwriter, who came to prominence in the UsefulNotes/NewHollywood era. He was the most prolific of that generation, the most political and critical director of his time, and the one who retained his independent spirit even when that era ended, and retained it until his final film. He developed a reputation as the industry maverick whose films were admired but little loved, but eventually he came to be seen as one of America's greatest and most original film-makers.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* AuteurLicense: Earned it after ''{{Film/MASH}}'' and surprisingly hung onto it for the remainder of his career, even after numerous box office failures. A major factor was that he knew how to stay on-budget and film efficiently. Also he had a strong reputation as an actor-friendly director, which led to big names willingly taking pay cuts so they could work with him.
Is there an issue? Send a MessageReason:
None
[[index]]
* ''Film/ThievesLikeUs'' (1974)
Changed line(s) 36 (click to see context) from:
to:
[[/index]]
Is there an issue? Send a MessageReason:
None
Changed line(s) 42 (click to see context) from:
* ChronicallyKilledActor: Characters played by Bert Remsen get brutally killed in three different Altman films (''[[Film/BrewsterMcCloud Brewster [=McCloud=]]]'', ''Film/McCabeAndMrsMiller'', ''Thieves Like Us'').
to:
* ChronicallyKilledActor: Characters played by Bert Remsen get brutally killed in three different Altman films (''[[Film/BrewsterMcCloud Brewster [=McCloud=]]]'', (''Film/BrewsterMcCloud'', ''Film/McCabeAndMrsMiller'', ''Thieves Like Us'').''Film/ThievesLikeUs'').
Changed line(s) 62 (click to see context) from:
* OutlawCouple: ''Thieves Like Us''.
to:
* OutlawCouple: ''Thieves Like Us''.''Film/ThievesLikeUs''.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* RewatchBonus: A patron saint of this trope. His films have so many little subtleties you won't pick up on the first viewing, not to mention some instances of FridgeBrilliance that you'll only get ''after'' you see the film.
Is there an issue? Send a MessageReason:
None
Changed line(s) 49 (click to see context) from:
* FanDisservice: He liked doing a variation on this where an attractive person appears nude, but the context of their nudity is so uncomfortable it makes the situation non-erotic. Examples include Sally Kellerman in ''{{Film/MASH}}'', Gwen Welles in ''{{Film/Nashville}}'' and Creator/JulianneMoore in ''Film/ShortCuts''.
to:
* FanDisservice: He liked doing a variation on this where an attractive person appears nude, but the context of their nudity is so uncomfortable it makes the situation non-erotic. Examples include Sally Kellerman in ''{{Film/MASH}}'', Gwen Welles in ''{{Film/Nashville}}'' and ''{{Film/Nashville}}'', Creator/JulianneMoore in ''Film/ShortCuts''.''Film/ShortCuts'' and Farrah Fawcett in ''Dr. T & The Women''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 55 (click to see context) from:
* LeFilmArtistique: Not as many as his reputation would lead you to believe, but ''Images'', ''Film/ThreeWomen'' and ''{{Film/Quintet}}'' all qualify.
to:
* LeFilmArtistique: Not as many as his reputation would lead you to believe, but ''Images'', ''Film/{{Images}}'', ''Film/ThreeWomen'' and ''{{Film/Quintet}}'' all qualify.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* MythologyGag: The song "Let's Begin Again", which he wrote the lyrics for in TheForties as part of a planned musical, crops up in ''[=HealtH=]'' and ''Film/ThePlayer'' (where it's sung at a karaoke bar).
Is there an issue? Send a MessageReason:
None
Changed line(s) 22 (click to see context) from:
* ''Film{{Images}}'' (1972)
to:
* ''Film{{Images}}'' ''Film/{{Images}}'' (1972)
Is there an issue? Send a MessageReason:
None
Changed line(s) 22 (click to see context) from:
* ''Film{{Images}} (1972)
to:
* ''Film{{Images}} ''Film{{Images}}'' (1972)
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* FanDisservice: He liked doing a variation on this where an attractive person appears nude, but the context of their nudity is so uncomfortable it makes the situation non-erotic. Examples include Sally Kellerman in ''{{Film/MASH}}'', Gwen Welles in ''{{Film/Nashville}}'' and Creator/JulianneMoore in ''Film/ShortCuts''.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* SignatureStyle: Frequent use of panning and zooming, overlapping dialogue, ambient sound as a prominent part of the audio mix, LoadsAndLoadsOfCharacters and episodic plots with plenty of NarrativeFiligree, to name the most obvious things. There are also many individual motifs he was fond of that show up in most of his films, like shooting scenes through a window, or having a character speak with a cigarette or pipe in their mouth.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* EruditeStoner: His own persona was the more laid-back variety of this. His fondness for marijuana was well-known but but he was adamant to point out that he [[WhatDoYouMeanItWasntMadeOnDrugs never indulged while he was working on set]].
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* TitleByNumber: ''Film/ThreeWomen''. Also his production company Sandcastle 5.
Is there an issue? Send a MessageReason:
None
Changed line(s) 44 (click to see context) from:
* EarlyInstallmentWeirdness: His first few theatrical films [[note]]''The Delinquents'' (1956), ''The Creator/JamesDean Story'' (1957), ''Countdown'' (1968) and ''Film/ThatColdDayInThe Park'' (1969)[[/note]] are fairly conventional with few of his signature touches. ''Film/{{MASH}}'' was his first attempt at comedy and introduced his familiar style. And of course he didn't have much freedom to experiment in his industrial films or TV work.
to:
* EarlyInstallmentWeirdness: His first few theatrical films [[note]]''The Delinquents'' (1956), ''The Creator/JamesDean Story'' (1957), ''Countdown'' (1968) and ''Film/ThatColdDayInThe Park'' ''Film/ThatColdDayInThePark'' (1969)[[/note]] are fairly conventional with few of his signature touches. ''Film/{{MASH}}'' was his first attempt at comedy and introduced his familiar style. And of course he didn't have much freedom to experiment in his industrial films or TV work.
Is there an issue? Send a MessageReason:
None
Changed line(s) 44 (click to see context) from:
* EarlyInstallmentWeirdness: His first few theatrical films [[note]]''The Delinquents'' (1956), ''The Creator/JamesDean Story'' (1957), ''Countdown'' (1968) and ''Film/ThatColdDayIThe Park'' (1969)[[/note]] are fairly conventional with few of his signature touches. ''Film/{{MASH}}'' was his first attempt at comedy and introduced his familiar style. And of course he didn't have much freedom to experiment in his industrial films or TV work.
to:
* EarlyInstallmentWeirdness: His first few theatrical films [[note]]''The Delinquents'' (1956), ''The Creator/JamesDean Story'' (1957), ''Countdown'' (1968) and ''Film/ThatColdDayIThe ''Film/ThatColdDayInThe Park'' (1969)[[/note]] are fairly conventional with few of his signature touches. ''Film/{{MASH}}'' was his first attempt at comedy and introduced his familiar style. And of course he didn't have much freedom to experiment in his industrial films or TV work.
Is there an issue? Send a MessageReason:
None
* ChronicallyKilledActor: Characters played by Bert Remsen get brutally killed in three different Altman films (''[[Film/BrewsterMcCloud Brewster [=McCloud=]]]'', ''Film/McCabeAndMrsMiller'', ''Thieves Like Us'').
Deleted line(s) 63 (click to see context) :
* SacrificialLamb: Characters played by Bert Remsen get brutally killed in three different Altman films (''[[Film/BrewsterMcCloud Brewster [=McCloud=]]]'', ''Film/McCabeAndMrsMiller'', ''Thieves Like Us'').
Is there an issue? Send a MessageReason:
None
* ''Film/ThatColdDayInThePark'' (1969)
Changed line(s) 42 (click to see context) from:
* EarlyInstallmentWeirdness: His first few theatrical films [[note]]''The Delinquents'' (1956), ''The Creator/JamesDean Story'' (1957), ''Countdown'' (1968) and ''That Cold Day In The Park'' (1969)[[/note]] are fairly conventional with few of his signature touches. ''Film/{{MASH}}'' was his first attempt at comedy and introduced his familiar style. And of course he didn't have much freedom to experiment in his industrial films or TV work.
to:
* EarlyInstallmentWeirdness: His first few theatrical films [[note]]''The Delinquents'' (1956), ''The Creator/JamesDean Story'' (1957), ''Countdown'' (1968) and ''That Cold Day In The ''Film/ThatColdDayIThe Park'' (1969)[[/note]] are fairly conventional with few of his signature touches. ''Film/{{MASH}}'' was his first attempt at comedy and introduced his familiar style. And of course he didn't have much freedom to experiment in his industrial films or TV work.
