The eclectic cinema of noted auteur Robert Altman invites--some would say, demands--extended discussion and analysis. Forging a singular path through his chosen profession, Altman stringently adheres to the filmmaking principles that made his name. ROBERT ALTMAN: INTERVIEWS offers a selection of discussions with the director, beginning with a 1971 interview from New York Times journalist Aljean Harmetz, and ending with a piece by film critic David Sterritt, who also edited this collection. Altman's second film, M*A*S*H (1970), was the first to fully establish his name. For most directors, an article such as Harmetz's would present the chance to reflect on the success of an Oscar-nominated movie from the previous year. Instead, Altman is caught in the eye of a highly creative storm, with two follow-up movies already in the bag: BREWSTER McCLOUD (also shot in 1970) and McCABE& MRS. MILLER (1971). This sets the tone for the book and for Altman's career, with most of the conversations covering multiple projects that the prodigious director had either already made, or was currently working on. His 1975 NASHVILLE is a notable exception to this; widely regarded as his cinematic peek, it is dissected at length in an interview taken from Film Quarterly. Altman is at his oratorical best when discussing NASHVILLE, as he simultaneously berates the substandard advertising campaign for the film while heaping warmly generously praise on the cast and crew, whom he sees as equals in the creative process: it's is a neat summation of Altman's character. In showcasing a filmmaker blissfully unconcerned with the commercial wiles of the industry, ROBERT ALTMAN: INTERVIEWS paints a portrait of a true artist who cares little for popular acceptance, and who gauges success only in terms of his own personal feelings towards his work Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved.