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There are plenty of rumors of problems at Lord & Taylor, Arnold Constable and Saks Fifth Avenue. The managements of B. Altman and Bonwit Teller recently took the unusual step of sending letters to their employees assuring them that the stores would not be closed. Meanwhile, on Madison Avenue, Abercrombie & Fitch has been plagued by the common problem of thefts and other runaway costs; the company lost nearly $1,000,000 on sales of $28 million in fiscal...

Author: /time Magazine | Title: Retailing: Down and Out Downtown | 12/7/1970 | See Source »

...first person to teach me to enjoy acting." One of Elliott's lessons consisted of standing off-camera while Candy was doing a closeup for Getting Straight and mugging furiously to get her to respond. "He never throws a tantrum, never gets into a snit," says Bob Altman, who made M*A*S*H. "He knows exactly what he wants...

Author: /time Magazine | Title: Show Business: Elliott Gould: The Urban Don Quixote | 9/7/1970 | See Source »

...state that I would never have hired Bob Altman for his last picture if I had known Altman had previously made That Cold Day in the Park. The fact of the matter is that not only did I know that Altman had made That Cold Day in the Park, but I hired Altman for M*A*S*H [July 13] only after I had screened the picture. Also, I have never "badmouthed" Bob Altman either before or after the production...

Author: /time Magazine | Title: Letters: Aug. 3, 1970 | 8/3/1970 | See Source »

Selling Tool. "Nobody really knows what this film is about but me," says Altman. And he is not saying, because "if you spell it all out, it becomes too much on the nose, too obvious in the actual shooting." Stacy Reach, for example, knows little more than that he is the 120-year-old third Wright brother; he is supposed to wing it from there. A screenplay to Altman (who used to write them) is just "a selling tool" to get financing, and afterwards, "not much more than a production schedule." In the middle of shooting McCloud the other...

Author: /time Magazine | Title: Show Business: Creation in Chaos | 7/13/1970 | See Source »

That sort of creative chaos drove M*A*S*H's two name players, Gould and Donald Sutherland, up and practically over the wall. "I told them," Altman recalls, "that there were going to be no movie stars. I told them of my improvisational philosophy, and they got a little bugged when they saw it happening." Sutherland says, "I never understood exactly what he wanted." They watched Altman make some improvements, like building Hot Lips' part up from a nine-line bit, but the master stroke of adding the loudspeaker as a character came only in Altman...

Author: /time Magazine | Title: Show Business: Creation in Chaos | 7/13/1970 | See Source »

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