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"They made millions and millions of dollars by bringing an Asian into Americans' homes every night," Altman said in. "I thought that was the worst taste." Altman never minced words about reproaching. After the Sept. 11 attacks, he said served as a source of inspiration for the terrorists by making violent action that amounted to training films for such attacks. "Nobody would have thought to commit an atrocity like that unless they'd seen it in a movie," Altman said. Altman was written off repeatedly by the establishment, and his reputation for arrogance and hard drinking _ a habit he eventually gave up _ hindered his efforts to raise money for his idiosyncratic films. While critical of studio executives, Altman held in the highest esteem. He joked that on "Go rd Park," he was there mainly to turn the lights on and off for the performers. The respect was mutual. Top-name would clamor for even bit parts in his films. Altman generally worked on shoestring budgets, yet he continually landed marquee performers who signed on for a fraction of their normal salaries. After the mid- s, the quality of Altman's films became increasingly erratic. His musical "Popeye," with, was trashed by critics, and Altman took some time off from film. He directed the Broadway production of "Come Back to the and Dime,," following it with a movie adaptation in. Altman went back and forth from TV to theatrical films over the next decade, but even when his films earned critical praise, such as 's "-," they remained largely unseen. "The Player" and "Short Cuts" re-established Altman's reputation and commercial viability. But other s films _ including his fashion-industry farce "Ready to Wear" and "Kansas City," his reverie on the s jazz and gangster scene of his hometown _ fell flat. Born Feb. 20, , Altman out in his teen years at the jazz clubs of Kansas City, Mo., where his father was an insurance salesman. fuck friend Stockholm
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