This intimate and critical biography of the pioneering director explores his life, work, and creative process—with contributions by fellow filmmakers. For decades, Robert Altman fascinated audiences with films such as McCabe and Mrs. Miller, Nashville, Gosford Park, and many others. He won critical acclaim by combining technical innovation with subversive, satirical humor and impassioned political engagement. His ability to explore so many different worlds with a single vision changed the landscape of cinema forever. This signature "Altmanesque" style is, in the words of Martin Scorsese: "as recognizable and familiar as Renoir's brushstrokes or Debussy's orchestrations." Now, the Altman estate opens its archive to celebrate his extraordinary life and career in this authorized biography. Written by Altman’s widow Kathryn Reed Altman and film critic Giulia D’Agnolo Vallan, this volume brims with personal recollections of the director. Alongside the intimate story of his life is a complete historical and critical narrative of Altman’s films and his process. To honor the Altman trademark of using a wide cast of characters, Altman also features contributions from his collaborators and contemporaries including Frank Barhydt, E. L. Doctorow, Roger Ebert, Jules Feiffer, Julian Fellowes, James Franco, Tess Gallagher, Pauline Kael, Garrison Keillor, Michael Murphy, Martin Scorsese, Lily Tomlin, Alan Rudolph, Michael Tolkin, and Kurt Vonnegut Jr.

With an introduction by Martin Scorsese, this book of photos, essays and paraphernalia covers the life and filmography of the legendary director. For decades, Robert Altman fascinated audiences with pioneering films—among them M*A*S*H, Nashville, The Player, and Gosford Park—that combined technical innovation with subversive, satirical humor and impassioned political engage­ment. His ability to explore and engage so many different worlds with a single, coherent vision changed the landscape of cinema forever. This signature “Altmanesque” style is, in the words of Martin Scorsese: “as recognizable and familiar as Renoir’s brushstrokes or Debussy’s orchestrations.” Now, the Altman estate opens its archive to celebrate his extraordinary life and career in the first authorized visual biography on the iconoclastic director. Altman, by Altman’s widow Kathryn Reed Altman and film critic Giulia D’Agnolo Vallan, brims with photographs and ephemera, many culled from private family albums, and personal recollections of the director. Alongside the intimate illustrated story is a complete visual, historical, and critical narrative of Altman’s films and his process. To honor the Altman trademark of using a wide cast of characters, the book also features contributions from his collaborators and contemporaries including Frank Barhydt, E. L. Doctorow, Roger Ebert, Jules Feiffer, Julian Fellowes, James Franco, Tess Gallagher, Pauline Kael, Garrison Keillor, Michael Murphy, Martin Scorsese, Lily Tomlin, Alan Rudolph, Michael Tolkin, and Kurt Vonnegut Jr.

In American cinema, films with multiple plots can be traced back to Grand Hotel in 1932, but the form was used only sporadically in subsequent decades. However, filmmakers of the 1970s and 80s, notably Robert Altman and Woody Allen, repeatedly employed complex narratives to weave sprawling stories in their films. Later filmmakers such as Quentin Tarantino, Paul Thomas Anderson, Wong Kar-Wai, Steven Soderbergh, and Paul Haggis embraced multiple plotlines, a device that eventually achieved mainstream respectability in such Oscar winners as Traffic and Crash. In the past two decades, more than 200 films utilizing some variation of this format have appeared worldwide. In Altman and After: Multiple Narratives in Film, Peter Parshall carefully examines films that feature various plotlines. Parshall asserts that although this form may lose some of the close psychological identification and forward drive of linear narratives, such films gain a corresponding strength by developing thematic relationships in the various story lines. In each of these chapters, Parshall examines a different example of the multi-plot form, such as network narrative and the multiple-draft narrative, demonstrating that the structure of each is central to their artistry. He also argues that these devices open up a variety of creative vistas, a strength that appeals to directors and audiences alike. Films studied in this book include Nashville, Pulp Fiction, Amores Perros, Code Unknown, The Edge of Heaven, Virgin Stripped Bare by Her Bachelors, The Double Life of Veronique, and Run Lola Run. A long overdue examination of this unique cinematic form, Altman and After will appeal to scholars, students, and fans eager to learn more about complex-narrative films.

Memoirs of a Jew born in 1930 in Brzeżany (eastern Galicia). Notes that the Soviet occupation of his town in 1939-41 did not halt antisemitism, but rather reinforced it. Under German occupation, Altman's father was killed on Yom Kippur of 1941. With his mother and sisters, he attempted to leave Brzeżany and hide with non-Jews; but his three sisters were killed, and he and his mother returned to the Brzeżany ghetto. After the last roundup in June 1943, during which he hid in a bunker prepared by relatives, Altman left the town. He lived in a small family camp in the forest, but after a Nazi raid, he, his cousin and her fiancé left the camp and were hidden and helped by various Polish and Ukrainian peasants. In 1944 they were liberated by the Soviets. After the war, Altman settled in the USA.

The first complete guide containing everything needed to form, operate and dissolve a Delaware limited partnership, including forms prepared by the authors, explanations of every statutory section, and analysis of fiduciary duties, protections, reorganization, foreign limited partnerships, derivative actions, and indemnification rights. By Martin I. Lubaroff and Paul M. Altman. The text of every section of the Delaware Revised Uniform Limited Partnership Act, as revised from 1983 through 2011, is set out in full, showing additions and deletions in each version of the act. The explanations of every statutory section cover all practical aspects of forming, operating, and dissolving a limited partnership. Thorough explanations of statutory provisions are integrated with detailed analysis of case law from Delaware. Plus, timely coverage is given to critical legal issues: Fiduciary duties of the partners Protections related to the liability of limited partners Defining the financial aspects of the limited partnership General and limited partners Reorganization of a limited partnership with or into other types of business entities Foreign limited partnerships Derivative actions Indemnification rights that can be granted to partners under a partnership agreement Delaware limited liability companies

In Altman on Altman, one of American cinema's most incorrigible mavericks reflects on a brilliant career. Robert Altman served a long apprenticeship in movie-making before his great breakthrough, the Korean War comedy M*A*S*H (1969). It became a huge hit and won the Palme d'Or at Cannes, but also established Altman's inimitable use of sound and image, and his gift for handling a repertory company of actors. The 1970s then became Altman's decade, with a string of masterpieces: McCabe and Mrs Miller, The Long Goodbye, Thieves Like Us, Nashville . . . In the 1980s Altman struggled to fund his work, but he was restored to prominence in 1992 with The Player, an acerbic take on Hollywood. Short Cuts, an inspired adaptation of Raymond Carver, and the Oscar-winning Gosford Park, underscored his comeback. Now he recalls the highs and lows of his career trajectory to David Thompson in this definitive interview book, part of Faber's widely acclaimed Directors on Directors series. 'Hearing in his own words in Altman on Altman just how much of his films occur spontaneously, as a result of last-minute decisions on set, is fascinating . . . For film lovers, this is just about indispensable.' Ben Sloan, Metro London