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Altman
(Continued from Page -
was not even inspired to ask
any questions based on the sin-
-gte reel.
jutE REST of the evening
(consisting of two long qes-
tion-and-answer sessions on eith-
er side of the one reel) proved
to be quite entertaining, al-
though not as informative as it
could have been. Partly, this
was a result of the questions
that were asked, ranging from
queeries about the most detail-
ed aspects of Atma's film tech-
nique to on-the-spot job applica-
ions.
One person, attempting to ask
chy Altman's films are so
open - ended," managed to
stumble over his question for
about two-and-a-half minutes, to
the audience's delight. Altman
asked him, jokingly, if he was
auditioning for a part, but this
proved to be a more serious of-
fer than was originally thought,
as Altman later seeked him outt
and offered him a small role in
his next film, A Wedding.
Altman explained that in all
of his films, the actors have
great input into their charac-
ters, and that often he exists
as just a "coordinator." But in
response to someone who indi-
cated that lhe thought Altman
didn't seem to have much to
do with what finally ends up
Ormand
dazzles
(Continued from Page 6)
Though the orchestra could be
sloppy in ensemble and articu-
lation, the musicians created
exceptional moments of con-
trasting moods.- a mysterious
cello passage and a fluid im-
pressionistic section with clari-
net and harp. The muted trum-
pet showed complete control in
his crescendoing solo. The or-
chestra broke into a rare but
exuberant animation near the
end of the dance and filled Hill
Auditorium with its full Phila-
delphia sonority.
It is unfortunate that most of
the music in this concert was
not as zealous as its conclusion.
The performance could have
been improved by programming
a variety of composers and
somehow lighting a fire under
the less - than - enthusiastic or-
chestra.
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amuses
on the screen, Altman replied
that if something is good, it's
his decision to leave it in, and
that he is ultimately responsible
for whiat you see,
A gorod ex mple of this method
is exhibited in Nashville, in
which the characters wrote their
sos song, and portions of the
dialssg-e, while Altman let as-
sistant directors handle all of
the backgrond people.
Altman also put to death the
ponlar myth th-t much of the
action in his films are impro-
vised. Me explained how some-
th ing imprsvised in rehearsal
might eventtally be used in the
filn, but rhat "everything is
planned out when we are doing
a take."
J7N THE BEGINNING of the
evening, Altman confessed that
his favorite film, or at least the
one he is, in retrospect, most
pleased with, is Brewster Mc-
Cloud, a tale of a young man's
wish for flight and freedom. He
said that Brewster was the film
he "went the farthest on," and
took the biggest chances with.
Altman claimed that it has
never been his intention to de-
stroy myths in particular, Am-
erican myths), and that he just
expresses what he sees. Spe-
cifically, he defended both Nash-
ville and The Long Goodbye as
being his own personal vision
of cultural phenomena, rather
than simple put-downs of what
has always been romanticized
in previous films.
The Long Goodbye, he explain-
ed, "presents my own interpre-
tation of Philip Marlowe char-

acter," and Altman pointed out
that it was as legitimate as
Bogart's.
It is nearly impossible to
break into the film business, and
to the few people who asked
about it, Altman wasn't very en-
couraging. lHe said that if you
want to be a film-maker, then
you should just go out and make
a film, any film, and try as
hard as possible to get some-
thing (i.e. a script) sold. But
when someone came to the mike
and mentioned that he lived five
miles from where Altman is
shooting his upcoming film, hint-
ing that he would be the per-
feet one to do some odd jobs
on the set, Altman replied,
"We'll remember to keep the at-
tack dogs out."

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