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“... Robert Altman’s Short Cuts is a long, loose-looking movie, but the looseness is an effect, carefully worked for. Plenty of themes recur throughout – insecurity, chance, rage, damage, the long, bruising war between men and women – and although there are fourteen or fifteen stories here (based on extrapolated from ten stories by Raymond Carver – the handouts and the introduction solemnly say nine stories and a poem, but the so-called poem is also a prose narrative), they are intricately stitched together, like a miniaturised Comédie humaine set in Los Angeles ...”

“... a big business, but not, as it is now, a corporate power that crosses national and class borders. Robert Altman’s new film, Prêt-à-Porter, is like La Dolce Vita grafted onto Funny Face. The unaffected and trusting Hepburn and Astaire would be marginalised or crushed in the fashion world portrayed here. Altman has ...”

“... and Dudley Nichols’s idea of making Thieves like Us was taken up by Nicholas Ray in 1948 and by Robert Altman in 1974. All these stories, of course, were originally novels written by someone else, but we do get a sense that in Hollywood this process is less like recycling and more like playing a jazz standard, done with a certain amount of respect, or ...”

“... regarded this as its best effort was widely thought to be embarrassing. As the movie’s director Robert Zemeckis gave his speech of acceptance (which he did, excruciatingly, by speaking ‘on behalf of Forrest Gumps everywhere’), the girl seated next to Madonna, in the words of my colleague Frank DiGiacomo, ‘turned to the pop star and displayed the ...”

“... would do well not to ask any questions about motivation. On Carla’s Song, he gave the actor Robert Carlyle a run-down of his character. ‘Your name’s George and you drive a bus. Maybe it would be a good idea if you learned to drive a bus.’ Had Loach stuck with theatre directing – an early pursuit – he would by now be bringing his plays to ...”

“... for a response, but there was none. Carver’s British reception has taken a little time. The Robert Altman movie Short Cuts, of 1993, based on nine stories and a poem of Carver’s, helped to get him wider notice. Among the stories incorporated in the film were ‘A Small, Good Thing’ – the one about the bereaved couple and the exigent baker ...”

“... by occasional economic interdependence and mainly beneficent chance: the narrative structure that Robert Altman used in his film Short Cuts, set in Los Angeles, is here projected across the globe. Beneath the novel’s postcolonial multiplicity lurks a neocon assurance of the smallness of the world and the fundamental Westernness of all who live in ...”

“... attached to it. Adams and Frantz describe in detail one deal in which Clifford and his partner Robert Altman, well-known in Washington social circles since he was married to Wonderwoman, bought and sold shares through BCCI and ended up with $9.8m in their pockets. Kerry reveals that Clifford’s and Altman’s firm ...”

“... toward sex but from the European assumption (found lingering in the work of Americans like Robert Altman) that the scent of documentary can and should be allowed to flavour a fictional method.’ Lane is thinking of American cinema as Hollywood. But there is a strong tradition of American documentary, from ...”

“... up to be Pierce Brosnan’s match, Cate Blanchett is rumoured to be portraying Mata Hari in a Robert Altman TV film, and Helen Fielding has created Olivia Joules, in her Bond-parody follow-up to Bridget Jones, Olivia Joules and the Overactive Imagination.† There’s nothing of the Amazon about Olivia: she’s a curvy blonde, wears Prada and uses ...”

“... not given Lord Snowdon’s number but the number he was actually calling from, which belonged to Robert Fox and his wife, Celestia. Fox was arrested. ‘Robert’s been arrested,’ his wife said when she rang Rupert and Min. ‘We were just going to bed, and the doorbell rang. Twelve policemen burst into the house and ...”

“... Chagall and the other artists who could be considered Yiddish modernists – the painters Nathan Altman, Robert Falk and, for a time, El Lissitzky, the composers Lev Pulver and Moshe Milner, the writer who called himself Der Nister – were defined by the struggle to integrate these two tendencies. ‘Our first imprimatur ...”

“... would often delay the shooting of a scene because he wanted to discuss every element in detail (Robert Redford, who played the Sundance Kid, just wanted to hurry up and finish). ‘Then what Paul would do with the scene would have no relationship to what we’d been talking about for the last half-hour.’ He put far more agony and effort into his ...”

“... recall, he was full of exhortations about art and entertainment and stories about his best friend, Robert Redford, who had starred in his latest film. His second home, he told me, was in Utah, near Redford’s. He got there by aeroplane, his own, of course, which he also piloted. ‘I’m confident we’re going to have something good,’ he said at the end of ...”

“... the inside cover of Moser’s book like a wall of publicity stills), Diane Arbus, Richard Avedon, Robert Mapplethorpe, and, later, her partner Annie Leibovitz. Sontag’s post-cancer skunk-stripe hair made her instantly spottable. For those hitting the right places in Manhattan, Sontag sightings were as recurring and oddly reassuring as Warhol sightings, as ...”