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"I [have] turned down some real
paying gigs," says Rudolph, with a
laugh. "Once you've tasted the
sweetest nectar by working with
[Robert] Altman, I can't imagine
doing anything [else]."
Rudolph, 59, grew dramatically
as an artist after meeting and
beginning work with the legendary
Altman in 1970. His reverence for
the revolutionary director is
revealed at the mere mention of his
name.
Not that Rudolph's own name is
on the lips of everyday Hollywood. Anatomy of a marriage: Hope Davis and
"People don't send me scripts," he
Campbell Scott play husband and wife in
concedes about the lack of the
"The Secret Lives Of Dentists."
allure of a director whose minis-
cule budgeted works lack box-
Jerusalem Film Festival about seven
office ambitions.
years ago that left him reeling religious-
Above everything else, there is nothing ly. "I looked around, and everybody was
superficial about Rudolph's raison d'etre.
Jewish," he says. "It was an amazing
"I'm fascinated by artifice, the surface of
feeling; how beautiful this is, I
people. All I want is to connect to what
thought."
makes people feel," he says.
Not that he believes everything is
And if there is a feel of the social
beautiful about organized religion. "I
activist in Rudolph's works, maybe it's
have a little problem with all religions,"
because there's a socialist history at its
he says. "It's all about control.
base. His Russian Jewish roots extend to Organized religion is built around 'do
his bubbie, "a socialist, a friend of
what we tell you and we'll let you in the
Emma Goldman's and Eugene Debs'
club.'"
campaign manager," and his zayde, a
But he finds membership in Judaism
tailor.
a different story: "Judaism has a sense of
But more than anybody, it was
humor, and one senses it's the spirit that
Rudolph's father, the appropriately
counts."
named Oscar, who introduced him to
If Israel hit home for the filmmaker, it
the shtetl and shul of Hollywood. "I
was Vietnam that brought home all the
still have a photo of Dad sitting next to
vicissitudes of war. "My brother was
Lenny Bruce," says the smiling son of
shot down in the Vietnam War," says
the director of The Rocket Man (1954),
Rudolph of his older sibling.
co-written by Bruce.
And the tragedy taught Rudolph to
Indeed, it was Rocket Man that lit the
make the most of every day. "His death
fuse of Rudolph's career. "[It] changed
taught me that when that big truck
my life," says Rudolph.
comes barreling toward me, [I want]" to
Making an appearance in the film
have already taken the road not so
spurred him to quit college and concen-
much untraveled as unpaved.
trate on making major motion pictures
But how to find success cobbling
his life's major.
together a career filled with cobble-
And then there was Altman, who
stones when the masses prefer their
altered Rudolph's concept of movie mak-
films smooth and accessible?
ing forever; serving as assistant director
Well, reasons Rudolph, he has
on the legend's The Long Goodbye,
cemented his reputation as a rebel with
California Split and Nashville and co-
a cause, and what will cause The Secret
scripting Altman's Buffalo Bill and the
Lives of Dentists to succeed is a market-
Indians, or Sitting Bulls' History Lessons
ing strategy mapped along paths he has
provided life lessons in independent
taken before.
filmmaking.
After all, what could be more appro-
Altman returned the favor by produc-
priate for a film about dentists than to
ing his protege's premiere feature,
rely on the selling points of that old oral
Welcome to L.A.
tradition: word of mouth. ❑
What Rudolph finds most welcoming
at this point in life is not only the inde-
pendent spirit he has become but the
The Secret Lives Of Dentists, rated
spiritual man he has always been.
R, opens Friday, Sept. 5, at the
"Once a Jew, always a Jew," he says,
Maple Art Theatre in Bloomfield
the picture of contentment.
Township. (248) 542-0180
Yet it was his attendance at the
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