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Robert Altman: The Oral Biography

by Mitchell Zuckoff (Goodreads Author)

4.07 · rating details · 102 ratings · 31 reviews

Robert Altman—visionary director, hard-partying hedonist, eccentric family man, Hollywood legend—comes roaring to life in this rollicking cinematic biography, told in a chorus of voices that can only be called Altmanesque.

His outsized life and unique career are revealed as never before: here are the words of his family and friends, and a few enemies, as well as the agents,...moreRobert Altman—visionary director, hard-partying hedonist, eccentric family man, Hollywood legend—comes roaring to life in this rollicking cinematic biography, told in a chorus of voices that can only be called Altmanesque.

His outsized life and unique career are revealed as never before: here are the words of his family and friends, and a few enemies, as well as the agents, writers, crew members, producers, and stars who worked with him, including Meryl Streep, Warren Beatty, Tim Robbins, Julianne Moore, Paul Newman, Julie Christie, Elliott Gould, Martin Scorsese, Robin Williams, Cher, and many others. There is even Altman himself, in the form of his exclusive last interviews.

After an all-American boyhood in Kansas City, a stint flying bombers through enemy fire in World War II, and jobs ranging from dog-tattoo entrepreneur to television director, Robert Altman burst onto the scene in 1970 with the movie M*A*S*H. He revolutionized American filmmaking, and, in a decade, produced masterpieces at an astonishing pace: McCabe & Mrs. Miller, Thieves Like Us, The Long Goodbye, 3 Women, and, of course, Nashville. Then, after a period of disillusionment with Hollywood—as well as Hollywood’s disillusionment with him—he reinvented himself with a bold new set of masterworks: The Player, Short Cuts, and Gosford Park. Finally, just before the release of the last of his nearly forty movies, A Prairie Home Companion, he received an honorary Oscar for lifetime achievement from the Academy, which had snubbed him for so many years.

Mitchell Zuckoff—who was working with Altman on his memoirs before he died—weaves Altman’s final interviews, an incredible cast of voices, and contemporary reviews and news accounts, into a riveting tale of an extraordinary life. Here are page after page of revelations that force us to reevaluate Altman as a man and an artist, and to view his sprawling narratives with large casts, multiple story lines, and overlapping dialogue as unquestionably the work of a modern genius.(less)

Hardcover, 576 pages

Published October 20th 2009 by Knopf

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Jul 21, 2010

Tim rated it

Hard to think of a director in Hollywood who’s made more of an impact but got less credit than Bob Altman. After all, his movies like M*A*S*H, Nashville and The Player were never really considered to be box-office blockbusters. Nor was Altman ever honored with an Oscar for producing or directing, although his films received many nominations throughout the 70’s, 80’s and 90s.

No, Robert Altman was an outcast, a scalawag; a rapscallion of film directors.

That’s what makes his...moreHard to think of a director in Hollywood who’s made more of an impact but got less credit than Bob Altman. After all, his movies like M*A*S*H, Nashville and The Player were never really considered to be box-office blockbusters. Nor was Altman ever honored with an Oscar for producing or directing, although his films received many nominations throughout the 70’s, 80’s and 90s.

No, Robert Altman was an outcast, a scalawag; a rapscallion of film directors.

That’s what makes his story so great.

In “Robert Altman: The Oral Biography,” author Mitchell Zuckoff captures it all. From Altman’s early days kicking around Kansas City (a place he would later base a feature film on) to his war years, to his roguish romantic escapades to his eventual landing in California (working for among others, the legendary Alfred Hitchcock) Zuckoff’s assemblage of the autuer’s story covers all the bases.

As colorful as the oral history is of the director’s early dating and family life, his military service and his career beginnings in both industrial films and, once in Hollywood, television (‘Combat,’ Whirlybirds,’ etc.) the best portions are reserved for his relationships with the actors he loved and the studio bosses he loathed. When actors would add a line to the dialog, most films expected a visit from the studio brass. When Altman’s actors wanted to add a line, he encouraged them to do more. (M*A*S*H’s Sally Kellerman (‘Hot Lips’), practically wrote her way into the whole movie from what was originally slated as a naked shower scene.) In the final analysis, Altman was the master of the ensemble film; his indelible mark comes from the inner workings of the casts he assembled, not necessarily from the stories themselves. As Zuckoff points out in Altman’s own words, he would be the first to admit it.

Along the way, the book regales the reader with stories from all the front line players (as in ‘The Player’) in Altman’s great body of work. Legendary players like Paul Newman, Tim Robbins, Cher (remember her red dress at the black and white ball?) Jimmy Caan, Bobby Duvall, Elliot Gould, Patricia Neal, Bob Evans, Richard Zanuck, Meryl Streep, Harry Belafonte, Lily Tomlin, Beatty, Becall and others weigh in and reminisce about their (rather detailed) recollections of Bob’s past. The one thing that rises above it all, is that Altman loved the actors; always exhorting them to mix it up, speak over each other words, act like in real life. So while he may not have been Hollywood’s most successful director, in many ways, he was perhaps its most authentic.

After his passing in 2008 (and after having finally received an honorary Oscar from the Academy in 2006) Altman needed a book – not on his work, but on the man himself. It is fitting that this oral biography is comprised of much of the same ensemble players that created the Altman oeuvre itself. Well done. Fade.(less)

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Apr 11, 2011

Tom Choi rated it

This is a comprehensive biography of Robert Altman, recounted orally through incisive reminiscences from family, friends, former friends, and the occasional enemy/detractors. As was the man and his movies, the stories that are collected here about his life are often imbued with hilarity, hi jinx, and warmth. This book places the story of the man behind the lens alongside in-depth accounts of the stories surrounding Altman's every single artistic endeavor. And as an oral biography, this is a swif...moreThis is a comprehensive biography of Robert Altman, recounted orally through incisive reminiscences from family, friends, former friends, and the occasional enemy/detractors. As was the man and his movies, the stories that are collected here about his life are often imbued with hilarity, hi jinx, and warmth. This book places the story of the man behind the lens alongside in-depth accounts of the stories surrounding Altman's every single artistic endeavor. And as an oral biography, this is a swift read (I finished it in two days).

Here are some highlights:

Robert Altman was a prodigious drinker and pot-smoker, smoking all the way up to his death at the age of 81. He once started a business that tattooed identification numbers on dogs; in fact, he tattooed the dog of the then president Truman; the business went asunder before he could make a lucrative sale to the ASPCA when his partner ran off to Europe with their savings.

Apparently, Kevin Spacey is a real dick; someone refers to him as the "Norman Bates of show business". Altman hated studio executives, critics, and screenwriters, in that order. Robert Altman's liked to gamble (like a Dostoevsky character and not like a professional nit-picker); played backgammon (and always lost); and watched a lot of sports on TV (he liked all sports). Every screening of the dailies (the practice of reviewing of what was shot by the crew at the end of each shooting day) was a lavish bacchanal affair. The actress Neve Campbell was in awe of this man who smoked so much pot and could do so much in his old age.

A decorated co-pilot who served in the Pacific during WWII, he returned home from the war with nothing on him but his clothes and shortly after he pawned his medals. For McCabe & Mrs. Miller, the crew built a real working town and the studio hands slept overnight in the various sets, some set up tee pees. A Prairie Home Companion, which was Altman's last movie, was shot in 9 brisk days; the director did not know what the film was about until the wrap (it's about Death). Robert Altman almost never picked up the tab. Richard Nixon wrote Robert Altman a warm letter describing his admiration for his work for fear of Altman's plans to make a movie about his life.

The film that he planned to make right up to his death was called, "Hands on a Hard Body," was gonna be about the industry behind the giveaway gimmicks where the last person left with their hands on a car wins the car. The following actors were slated to appear: Chris Rock, the "Rock," Jack White of the White Stripes, Tommy Lee Jones, Steve Buscemi, Salma Hayek, Billy Bob Thornton, Hilary Swank and more. It would've been a great movie...(less)

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Nov 13, 2009

Mike rated it

Recommends it for: Jeff?

In my final year as an undergrad, a budding insane love of movies having driven me to every formal and informal experience around the study of film available, I conned or cajoled a Sociology prof who'd advised our campus Film Society (membership for which was him and me, and that's it) to let me do a senior thesis on film. What would you do, he asked? A couple of films had hit me upside the head recently (Blue Velvet, Betty Blue, Brazil) but even I couldn't say much about what I'd do except ra...more

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Feb 11, 2010

Nanette Bulebosh rated it

Zuckoff, in an interview on WBUR's "Here and Now," described Altman as a maverick who, despite several professional setbacks, refused to compromise his idiosyncratic vision and desire to tell stories far differently than most film directors. I loved Gosford Park, M*A*S*H, and (just recently) A Prairie Home Companion, Altman's last movie. As a director, he is especially deft with ensemble acting. Gosford Park succeeds in part because of the comfortable and intimate banter between the ch...moreZuckoff, in an interview on WBUR's "Here and Now," described Altman as a maverick who, despite several professional setbacks, refused to compromise his idiosyncratic vision and desire to tell stories far differently than most film directors. I loved Gosford Park, M*A*S*H, and (just recently) A Prairie Home Companion, Altman's last movie. As a director, he is especially deft with ensemble acting. Gosford Park succeeds in part because of the comfortable and intimate banter between the characters, both the servants and the wealthy weekend guests the former have to care for. PHC is also great. I love how the actors talk over each other, something quite common in real life but rarely seen in film. The characters played by Meryl Streep and Lily Tomlin come off belieably as Midwestern sisters(from Oshkosh, WI!), despite the fact that they look and act nothing alike, because of the intimacy and easy comfort they have for each other. Altman, who died in 2007, seemed to relish in this intimacy. By all accounts he actively encouraged his actors to improvise and experiment. He was the qunitesssential actor's director.

Thus, who wouldn't be interested in learning more about this man? For me, however, this particular book was not the ideal path doing that. "Oral biography" turns out to be quite a limiting term. We get no indepth objective story-telling or analysis. No narrative from Zuckoff at all, in fact. All we get are fond memories and quotations from loved ones and the many people who worked with him. The book is a series of individual monologues from famous and non-so-famous people. It's not at all what I'm used to seeing in a biography.

Not that the author pretends to do anything else. He's upfront about his method. And clearly he spent a great deal of time tracking down all these people and hearing their stories. I'm sure he came up with some great questions and methods for getting people to open up. He also spent a lot of time with Mr. Altman, who supported the project, himself.

It's just not the kind of biography I was looking for. It may work very well for others. (less)

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Aug 09, 2010

Blog on Books rated it

Hard to think of a director in Hollywood who’s made more of an impact but got less credit than Bob Altman. After all, his movies like M*A*S*H, Nashville and The Player were never really considered to be box-office blockbusters. Nor was Altman ever honored with a single Oscar for producing or directing, although his films received many nominations throughout the 70’s, 80’s and 90s.

No, Robert Altman was an outcast, a scalawag; a rapscallion of film directors.

That’s what ma...moreHard to think of a director in Hollywood who’s made more of an impact but got less credit than Bob Altman. After all, his movies like M*A*S*H, Nashville and The Player were never really considered to be box-office blockbusters. Nor was Altman ever honored with a single Oscar for producing or directing, although his films received many nominations throughout the 70’s, 80’s and 90s.

No, Robert Altman was an outcast, a scalawag; a rapscallion of film directors.

That’s what makes his story so great.

In “Robert Altman: The Oral Biography,” author Mitchell Zuckoff captures it all. From Altman’s early days kicking around Kansas City (a place on which he would later base the feature film of the same name) to his war years, his roguish romantic escapades, his eventual landing in California (working for, among others, the legendary Alfred Hitchcock) Zuckoff’s assemblage of the autuer’s story covers all the bases.

As colorful as the oral history is of the director’s early dating and family life, his military service and his career beginnings in both industrial films and, once in Hollywood, television, (‘Combat,’ Whirlybirds,’ etc.) the best portions are reserved for his relationships with the actors he loved and the studio bosses he loathed. When actors would add a line to the dialog, most film sets expected a visit from the studio brass. When Altman’s actors wanted to add a line, he openly encouraged them to do more. (M*A*S*H’s Sally Kellerman (‘Hot Lips’) practically wrote her way into the whole movie from what was originally slated as a naked shower scene.) In the final analysis, Altman was the master of the ensemble film; his indelible mark comes from the inner workings of the casts he assembled, not necessarily from the stories themselves. As Zuckoff points out in Altman’s own words, he would be the first to admit it.

Along the way, the book regales the reader with stories from all the front line players (as in ‘The Player’) in Altman’s great body of work. Legends like Paul Newman, Bob Evans, Cher (remember her red dress at the black and white ball?) Jimmy Caan, Bobby Duvall, Elliot Gould, Patricia Neal, Richard Zanuck, Meryl Streep, Harry Belafonte, Lily Tomlin, Tim Robbins, Beatty, Becall and others weigh in and reminisce about their (rather detailed) recollections of Bob’s past. The one thing that rises above it all, is that Altman worshiped the actors; always exhorting them to mix it up, speak over each other words, act like in real life. So while he may not have been Hollywood’s most successful director, in many ways, he was perhaps its most authentic. (less)

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Mar 20, 2010

Simon rated it

A joyful, raucous but not uncritical biography of the iconoclastic film director Robert Altman. As befitting a director known for his character-crammed ensemble pieces and overlapping dialogue, the book is told oral history style with a host of actors, colleagues, and family members chiming in with memories and thoughts on a man they all seemed to have loved even when he was driving them crazy. Altman's sets were an actor's dream, he almost demanded a constant flow of ideas and collaboration. At...more

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Jan 07, 2010

Richard Kramer rated it

I remember an interview Altman gave years ago where he said "I'm a fool". This is not the kind of thing great directors usually say about themselves. But Altman was not your usual great director.
The book is its own Altman movie, which is to say that the life was, too. Mitchell Zuckoff has edited it and done the sound mix in a way Altman would have loved. Altman comes off as a
mix of Falstaff and Don Quixote and John McCabe. He is fat, maddening, benighted, noble, inspiring. A...more

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Apr 14, 2010

Jason Coleman rated it

Great artist, pretty good book. The information on the actual films is erratic--very good in the cases of some (Nashville and Gosford Park come to mind), but terribly incomplete for many others. That's what happens with an oral history: you're at the mercy of who the author could get a hold of. And just when the personal anecdotes need to penetrate more deeply, they begin to get repetitive. But the back history is invaluable, the portrait of Altman's final years is unsentimental and moving, and ...more

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Apr 29, 2011

Edward rated it

Only read this biography if you're a fan of Robert Altman's movies (MASH, MCCABE AND MRS. MILLER, NASHVILLE, THE PLAYER, GOSFORD PARK, PRAIRIE HOME COMPANION and many others) and want to know about the man behind these excellent (in my opinion) movies. The man lived for his work; he was never more alive than when he was directing films, in his eccentric way. Otherwise, he was far from perfect - he philandered, neglected his children, drank too much, smoked too much pot (although he claimed...more Only read this biography if you're a fan of Robert Altman's movies (MASH, MCCABE AND MRS. MILLER, NASHVILLE, THE PLAYER, GOSFORD PARK, PRAIRIE HOME COMPANION and many others) and want to know about the man behind these excellent (in my opinion) movies. The man lived for his work; he was never more alive than when he was directing films, in his eccentric way. Otherwise, he was far from perfect - he philandered, neglected his children, drank too much, smoked too much pot (although he claimed that helped his creativity) and could be frustrating to work with.
But his work was where he excelled. He was thoroughly anti-authoritarian, liked to ignore established rules, and that extended to well-planned and scripted movie efforts that the film industry usually promotes. His method of working was to encourage his actors to improvise, and even if their efforts didn't always work, he could make use their failures in surprising ways. What emerged was often inspired creativity, not just on the his part, but on the part of actors who, through collaborative efforts that he encouraged, made his creative vision even better. This process didn't mean he lacked a general vision of where he wanted his films to go, it was just that he was always open to new ways of enhancing his vision.
Needless to say, he was often at odds with producers who provided the money for his films. Moviemaking is a business, after all, and the bottom line is profit, not artistic license given to a director who could not guarantee in advance that he was going follow a script or a developed story line. In fact, he was never particularly interested in a strong narrative structure, or in building character. He compared himself to an impressionistic painter, dabbing in his own personal touches, often at the last minute, and changing the expected product His first big success was the MASH (l970) an artistic as well as financial breakthrough (the film, not the tv series in which he had no interest), and following upon that he was a marketable commodity and got financing for his next few film. The problem was that he had as many financial duds as successes, so for long stretches, he had trouble finding backing for his projects.
As one of the interviewees, Anne Rapp, a screenwriter (the book is made up of dozens of oral interviews in which actors, writers, producers, friends, family members, and technical people talk about their memories of Altman - he died at age 81 in 2006) commented, "I always told Bob he's like a farmer. When it's the season you plant and you water and you harvest. If you have a great crop it doesn't mean you don't plant the next season. And if you get hailed out one year, you don't spend the next year licking your wounds. You get back out there and plant the ;next season. A good farmer and a good artist just keep turning out the work." Altman never looked back - he always thought the film he was working on was the best thing he'd ever done. He once said that to compare the movies he made would be like comparing your children - they're all different, and you don't assess "best" and "worst".
Finally, a comment by producer Bob Balaban about one of his last movies, GOSFORD PARK, that applies as well to most of his films. "Robert liked large noisy groups of people. And that's how he liked to live. And he liked them in his movies and in a way all of Bob's movies were like one long movie, and that was in some ways like his life. They didn't come to a lot of conclusions at the end. Sometimes, it was very hard to tell the good guys from the bad guys - there's not a lot of black and white clashing around. It's all pretty complicated. And he loved large groups of people."
The strength, I'd say, in Altman's films is that as he looks at people, especially ordinary people, the more he sees - their foibles, their quirkiness, their unpredictable and surprising actions. He loves multiple stories, often shooting simultaneously with three or four cameras and using overlapping soundtracks, the effect being, as one critic put it, of bringing the viewer into the film almost as a collaborator himself. There's so much going on, he has to decide what he really wants to concentrate on. After reading this book, I want to look at all of Altman's films again, most of which are available through Netflix.
(less)

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Jun 20, 2010

Steve Sullivan rated it

Enthusiastically recommended biography for anyone who loves Altman or film, as well as anyone interested in the creative process. The book is loaded with insights from Altman, his family and the legions of people who worked with him. It offers a fascinating, sometimes moving, warts-and-all portrait of a complex artist who never--repeat never--compromised his vision, no matter the cost. And it often cost him. He was an American original.

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Jan 11, 2010

Florence rated it

The oral biography style was very engaging. By the last page I felt like I had known Altman and mourned his death. Curiously, I though he was self-centered and verbally abusive to many colleagues but I became more sympathetic as he grew older. Many of those interviewed said that he mellowed, so perhaps that is why I came to like him better. His artistic integrity was never negotiable and he is to be admired for that quality.

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May 13, 2011

Christine rated it

This was incredibly well-edited. It's an oral biography; he interviewed hundreds of people who knew Bob Altman, then wove their stories together in such a way that it felt like you were in the room having a conversation with them. Altman is a fascinating person -- I've lined all of his movies up in my Netflix queue.

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Nov 25, 2011

Randine rated it

EXCELLENT biography. I learned how actors ADORED Altman and what a truly unique director he was. You also learn how incredibly difficult it is to finance a film and how Altman bullied his way through the studios and the money. Felt like an honest portrait. Talk about a free spirit....

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May 11, 2011

Kyle Pennekamp rated it

An inspiring book about one of the most inspiring of all filmmakers. And the oral biography was a great way to handle the life of a director known for his giant ensembles and their overlapping dialogue. But what I really loved about the book was that it was not so much about the buts and bolts of the films... but about the kind of man it took to be the filmmaker he became.

Highly, highly recommended.

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May 15, 2011

jim rated it

Shelves: non-fiction

I have a fondness for episodic backstories when it comes to film biographies. I count among my favorites King Cohn by Bob Thomas and The Wit and Wisdom of Hollywood by Max Wilk. This work has the same feel, using interviews from family, friends, actors, actresses and Altman himself to give us a glimpse of his journey.

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Dec 02, 2009

Monica rated it

A very good book in terms of getting even more insight into Altman the man.

Incidentally (or not???), he was a serious weed smoker but now I know he toked into his old age. Pot brownies at the Oscars.

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Jan 18, 2010

Cynthia Kane rated it

I love Altman's films - the ones that succeeded and the ones that "failed"; he was a true cinematic artist. This was a quick and entertaining read that reminded me to relook at all the films.

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Nov 04, 2011

M. Sarki rated it

Very nice work. With all the interviews by the people who knew Robert Altman the best, I feel we got a very good picture of the man as well as the artist. He was a fine director who appreciated people who worked hard both in their art and play.

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Aug 03, 2011

Rob rated it

Easily one of the best film biographies I've ever read, with a cast as star-studded as any Altman film. I couldn't put it down!

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Feb 18, 2010

Sean Fennessey rated it

Maybe the single most inspiring book I've ever read. Failure comes as easily as success.

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Jul 05, 2011

Sam Baber rated it

so awesome it left me speechless

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Dec 01, 2009

K Nolfi rated it

Shelves: bio, movies

This book is incredible. I wish I had read it among company and not alone at night and on the bus because I wanted to share some of these very funny and crazy stories. I love oral biographies--this is as good or better than Edie's.

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Nov 22, 2011

Bliss marked it as to-read

Shelves: drama, family-matters, friendship, humor, non-fic, biography

Nov. 22, 2011
10:22 p.m.

Although I started this book already, I have to finish it later. It's on our library's Hot List so it can only be checked out for a few weeks at a time.

I had to take it back before I was done. I'll get it again ASAP.

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Dec 11, 2009

Robert rated it

Decent oral biography of the man, but suffers by not really going in-depth on some of the work.

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Dec 08, 2009

Miriam rated it

Shelves: 2009, own, best-of-2009

Almost done. A completely absorbing study of Altman - very clever, I thought, to have the multiple voices. Obviously Altmanesque. I wanted more on the making of the movies, but I thought it did a decent job of providing a relatively balanced view (not that I know him at all) of the man.

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May 17, 2011

Mike rated it

I was leery of picking up an oral biography, but this was well put together and flowed. I find Altman's films always interesting. Unlike him, I do have my favorites. I also admire his faithfulness to his vision as an artist. I think the other artists around him picked up on that and could not help but respect it. When he failed, he was nevertheless true to his vision. He had some other issues, but hey, who doesn't.

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Dec 02, 2009

Elizabeth rated it

Shelves: reviewed-for-fls, nonfiction

3.5. A solid bio for an interesting artist. The oral biography structure works well most of the time but can wear thin. Another thing is that it tends to allow you to focus on who participated & who didn't, creating more intrigue & not trying to pin down every aspect of Altman's life, still leaving a mystery or two to the man. A good work.

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Aug 19, 2010

Obxboy rated it

A very enjoyable read, although oral biographies are my favorite type, so I'm a bit prejudiced. I would have liked an even further in-depth examination of Altman's films. For that reason, I ordered 'Altman on Altman.'

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Mar 26, 2010

Karen rated it

Shelves: 2010-reads, biography, film

Very comprehensive look at Altman's career. Nobody had neutral feelings about him. Now is time to rewatch some of the great films like Nashville, McCabe & Mrs. Miller, Gosford Park and hunt down the few I haven't seen.

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Oct 25, 2009

Walter rated it

Like many others, I'm hoping an in depth analysis of O.C. and Stiggs will be found in this book. And I guess The Long Goodbye,too; but if not...well, that's OK with me.

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Mitchell Zuckoff is a professor of journalism at Boston University. He is the author of Lost in Shangri-La: A True Story of Survival, Adventure and the Most Incredible Rescue Mission of World War II. His previous books are: Robert Altman: The Oral Biography, one of Amazon.com's "Best Books of 2009"; Ponzi's Scheme: The True Story of a Financial Legend, a New York Times Editors' Choice bo...more

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