A Quote by Tony Kushner
The big influence on me was Robert Altman, who, especially in 'Nashville,' transformed my sense of dramatic structure and showed how you could handle overlapping stories.
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I took a class my freshman year in high school called Intro To Film, and I was introduced to Robert Altman's films, and I wrote my first paper on a filmmaker and it was Altman's 'M*A*S*H,' and Nashville and I think 'Short Cuts' or 'The Player,' I don't remember.
One of the things that I love about Robert Altman's movies is that, really, a Robert Altman movie is just a bunch of short films about various people told at the same time.
I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel.
I'm a huge Robert Altman fan and don't take issue with his filmmaking, as eccentric as it is. But I just think 'Nashville' was a world he didn't know.
Robert Altman's 'Nashville' is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.
There's so much confidence and freedom that comes from that way of doing things. Robert Altman and Alan Rudolph make the set the place to be. It's fun. It's a kind of creative freedom that's really inspiring. Altman loved actors so much. He was a great mentor for me, really.
I'm a big fan of Robert Altman, and one of the things I love in 'The Long Goodbye' is the way that he plays with the theme; it's just used in all these different ways.
I did 'Celebrity' by Woody Allen. I did 'The Gingerbread Man' with Robert Altman. These were big talents.
Having done a lot of magazines, I'm very curious how big magazines handle big stories, and I was very curious to see how 'Time' and 'Newsweek' would handle 9/11. And I was basically pretty disappointed to see that they had chosen to show the photo we'd already seen a million times, which was basically the moment of impact.
Pauline Kael had seen Nashville, and she loved Nashville. When I called her, she immediately responded to me because we had become friends, and I told her how great this film was, and she told me, "Well, I'll have to see it for myself." So I showed it to her, and she flipped.
I've worked with Robert Altman a couple of times too.
Dramatic. A well developed sense of the dramatic has values beyond what people usually imagine. One of these is to realise the limitations of a sense of the dramatic.
I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.
So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.
I definitely feel like you have an influence. I'm 21 years old, and I'm thinking about the kids that are from my neighborhood, from my community, that are looking up to me and seeing me handle myself a certain way, so I do feel a responsibility in that sense to handle myself a certain way in front of those guys.
I was a contact hitter my whole career but I learned how to handle the ball inside. And Ted Williams played a big part in that. He gave me the advice on how to handle inside pitches.
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