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In 1963 he started a movie company, Lion?s Gate Films, to build up their own films and projects, but studios expressed little curiosity about having Altman direct. When Altman did persuade Warner Bros to let him direct Countdown in 1966, the studio found the overlapping dialogue incomprehensible, and recut the movie. After working with little recognition, Altman directed the phenomenally successful MASH (1970), which brought him notoriety and greater liberty in realizing their own projects. A long run to move pictures in early 1970s attracted much critical acclaim, reaching a climax with the movie Nashville (1975), Altman?s signature multi-character, multi-story portrait of a few days in the life of the South?s country musical capital.
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Subsequent videos were less successful, culminating in 1980, with Popeye, which still did not meet the studio?s blockbuster expectations. Altman sold his company Lion?s Gate, and his Hollywood career languished. During this period of Hollywood rejection, Altman directed a series of moving pictures based on successful plays, as well as shooting plays for television and staging operas, often working outside Hollywood and so on small budgets. Among this work, his 1988 series for HBO, Tanner ?88 (1988), is a particularly noteworthy for mixing Altman?s penchant for semi-documentary portraits of places with fictional characters. Vincent and Theo (1990), his movie according to the life of Vincent Van Gogh with his fantastic brother, again earned Altman critical attention, and he was eventually hired to direct The Player (1992), a wicked satire of Hollywood, determined by Michael Tolkin?s novel. The Player was highly successful, both critically look at these guys
the box-office, and Altman once again became certainly one of Hollywood?s darling gifts while he ended up twenty years earlier ? even though The Player criticized Hollywood motion pictures in their form along with its content.
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