Robert Altman was an American director who died in 2006 with a net worth of $60 million. Robert Altman was a pivotal figure in the New Hollywood era. He was known for his use of huge ensemble casts, overlapping dialogue, and mobile camerawork in films such as “MAS*H,” “McCabe & Mrs. Miller,” “Nashville,” “The Player,” and “Gosford Park.” Among his many honors, Altman garnered five Academy Award nominations for Best Director and an Academy Honorary Award in 2006.
Who was Robert Altman?
Robert Altman was born in Kansas City, Missouri on February 20, 1925, to Helen, a Mayflower descendant, and Bernard, a rich insurance salesman. He was raised Catholic and went to Jesuit schools, including Rockhurst High School. Altman then went on to Wentworth Military Academy in Lexington, Missouri, where he graduated in 1943.
How old was Robert Altman?
He was 81 years old when he died.
What was Robert Altman’s net worth?
He was estimated to be worth $60 Million.
What was Robert Altman’s career?
Altman joined the US Army Air Forces after graduating from military school during World War II. He performed more than 50 bombing flights in Borneo and the Dutch East Indies as a co-pilot on a B-24 Liberator with the 307th Bomb Group. Altman was discharged in 1947 and proceeded to California, where he found success co-writing the script that became the basis for the RKO film noir “Bodyguard.”
His success inspired him to travel to New York City and work as a full-time writer; nevertheless, he struggled to do so and returned to Kansas City to work as a director and writer for the Calvin Company. Meanwhile, Altman began directing plays at the Jewish Community Center’s Resident Theatre.
Altman began directing television shows in the early 1950s. His first television appearances were on the DuMont drama series “Pulse of the City,” which aired from 1953 to 1954. Following that, Altman helmed episodes of “The Sheriff of Cochise” and “Alfred Hitchcock Presents.” As time passed, he became increasingly prolific, directing episodes of shows such as “Whirlybirds,” “The Millionaire,” “The Roaring 20s,” “Bonanza,” “Combat!,” and “Maverick,” among many others.
In 1964, Altman directed the television film “Nightmare in Chicago,” which was an elaboration of an episode he did for the anthology series “Kraft Suspense Theatre.” Later in his career, he would direct other television films, including “2 by South,” “The Laundromat,” and “The Caine Mutiny Court-Martial.” Altman also directed “Tanner ’88,” a political mockumentary miniseries, for which he won an Emmy Award.
Altman made his feature film directorial debut in 1957 with “The Delinquents,” a low-budget teen drama shot in his birthplace of Kansas City. He didn’t make another feature picture until 1967, with the low-budget science-fiction film “Countdown.” After two years, he directed the psychological thriller “That Cold Day in the Park.”
Altman’s critical and financial breakthrough came with the satirical war film “MAS*H,” which was released in 1970. Based on a little-known novel from the Korean War era, the picture was a big blockbuster, winning the top prize at the Cannes picture Festival and garnering Altman his first Academy Award nomination for Best Director.
“MAS*H” became the year’s third-highest-grossing film and produced the popular television series of the same name. Altman also directed the 1970 black comedy “Brewster McCloud.” He followed that with the revisionist Western “McCabe & Mrs. Miller” in 1971. Altman went on to direct “Images” (1972), “The Long Goodbye” (1973), “Thieves Like Us” (1974), and “California Split” (1974).
Altman’s satirical musical dramedy “Nashville,” a massive ensemble film with multiple interconnecting plots and country and gospel music performances, was one of his greatest critical hits in 1975. The picture, like “MAS*H,” received five Academy Award nominations, including Best Director. Altman’s next picture, the 1976 revisionist Western “Buffalo Bill and the Indians, or Sitting Bull’s History Lesson,” received critical praise and won the Golden Bear at the Berlin International Picture Festival. He later directed the psychological drama “3 Women,” which was released in 1977.
The satirical dramedy “A Wedding” (1978), the post-apocalyptic science-fiction film “Quintet” (1979), and the romantic comedy “A Perfect Couple” (1979) were Altman’s final three films of the decade. Nonetheless, Altman ended the decade as a pioneering figure in the New Hollywood era of filmmaking, while frequently clashing with studio chiefs over the artistic direction of his films.
Altman launched his career in the 1980s with two films: “Health” and “Popeye.” The latter, a musical adaptation of the popular comic strip and cartoon, was designed to boost Altman’s commercial clout after his financial failures in the late 1970s. The production, however, was marred by rampant drug and alcohol use and performed only fairly well at the box office.
Altman returned to television and theater after being unable to gain significant funding from Hollywood. In 1982, he made a comeback on the big screen with “Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean,” an adaption of Ed Graczyk’s play. Altman’s next film was “Streamers,” an adaptation of David Rabe’s popular play.
With his next three films, he proceeded to adapt plays: “Secret Honor” (1984), based on a one-man play about Richard Nixon, “Fool for Love” (1985), based on Sam Shepard’s play, and “Beyond Therapy” (1987), based on Christopher Durang’s play. Altman’s teen comedy “O.C. and Stiggs,” which had been stalled for several years due to a tumultuous production, terrible test screenings, and shifting studio management, was also released in 1987.
Source: thpttranhungdao.edu.vn/en/
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Source: thpttranhungdao.edu.vn/en/
