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...this event. Angels in America, Part One: Millennium Approaches is, after all, one of the uncontested dramatic triumphs of the decade: a box-office smash, a genuine epic and the recipient of four Tony Awards and the Pulitzer Prize. One might say, then, that the transcendence of director Leah Altman's production is somehow inevitable, that it "comes with the territory...

Author: By Nicholas K. Davis, CRIMSON STAFF WRITER | Title: Heaven on Stage | 11/14/1997 | See Source »

...does not take long for Anderson's fluid camera to lure us into this world. Anderson comes from the movie-buff school of filmmaking, and his film pays homage in many ways to the filmmakers who came of age in the 1970s, most notably Robert Altman and Martin Scorcese. The tracking shot, which Scorcese brought to a new level, is used early and often to full effect in Boogie Nights. The opening shot swoops down the street and through the doors of a topless disco, wherein it follows nightclub manager TT Rodriguez (Luis Guzman) as he meets and greets...

Author: By Marshall I. Lewy, CRIMSON STAFF WRITER | Title: Taste the '70s Again, For the First Time | 10/17/1997 | See Source »

...film's final scene mimics the final dressing room scene of "Raging Bull," the techniques Anderson borrows from his elders for the most part are not simply homage or imitation. The movement of the camera, which he uses throughout, suits his purpose well. Since his film, like many Altman films, is an ensemble piece, the camera wanders both to capture the wildness of the surroundings and to trace the lives of his many characters...

Author: By Marshall I. Lewy, CRIMSON STAFF WRITER | Title: Taste the '70s Again, For the First Time | 10/17/1997 | See Source »

...Daniel Altman '96, a teaching fellow for the class and a former Crimson executive, said that there were three main reasons for adopting the new textbook...

Author: By Nanaho Sawano, CONTRIBUTING WRITER | Title: Economics Professor Collects on New Book | 10/9/1997 | See Source »

...director win against a studio? Maybe. Robert Altman's cut for The Gingerbread Man didn't get the response at test screenings that PolyGram wanted. So, although Altman threatened to take his name off the film, the studio had a new editor chop off eight minutes. But the new cut tested only a little better. The studio chose to keep the Altman version--and his name...

Author: /time Magazine | Title: People: Sep. 22, 1997 | 9/22/1997 | See Source »

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