Oscar-winning director dies

The director was known for his distinctive styles in filmmaking.
LOS ANGELES (AP) -- Robert Altman, the caustic and irreverent satirist behind "M*A*S*H," "Nashville" and "The Player" who made a career out of bucking Hollywood, has died at 81.
The director died Monday night at a Los Angeles Hospital, Joshua Astrachan, a producer at Altman's Sandcastle 5 Productions in New York City, told The Associated Press.
The cause of death wasn't disclosed. A news release was expected later in the day, Astrachan said.
A five-time Academy Award nominee for best director, most recently for 2001's "Gosford Park," he finally won a lifetime achievement Oscar in 2006.
"No other filmmaker has gotten a better shake than I have," Altman said while accepting the award. "I'm very fortunate in my career. I've never had to direct a film I didn't choose or develop. My love for filmmaking has given me an entree to the world and to the human condition."
Garrison Keillor, who starred in Altman's last movie -- this year's "A Prairie Home Companion" -- said Tuesday that Altman's love of film clearly came through on the set.
"Mr. Altman loved making movies. He loved the chaos of shooting and the sociability of the crew and actors -- he adored actors -- and he loved the editing room and he especially loved sitting in a screening room and watching the thing over and over with other people," Keillor said in a statement to The Associated Press. "He didn't care for the money end of things, he didn't mind doing publicity, but when he was working he was in heaven."
About his legacy
Elliot Gould, who starred in "M*A*S*H," said Altman's legacy would "nuture and inspire filmmakers and artists for generations to come."
Altman had one of the most distinctive styles among modern filmmakers. He often employed huge ensemble casts, encouraged improvisation and overlapping dialogue and filmed scenes in long tracking shots that would flit from character to character.
Perpetually in and out of favor with audiences and critics, Altman worked ceaselessly since his anti-war black comedy "M*A*S*H" established his reputation in 1970, but he would go for years at a time directing obscure movies before roaring back with a hit.
After a string of commercial duds including "The Gingerbread Man" in 1998, "Cookie's Fortune" in 1999 and "Dr. T & amp; the Women" in 2000, Altman took his all-American cynicism to Britain for 2001's "Gosford Park."
A combination murder-mystery and class-war satire set among snobbish socialites and their servants on an English estate in the 1930s, "Gosford Park" was Altman's biggest box-office success since "M*A*S*H."
Oscar nominations
Besides best-director, "Gosford Park" earned six other Oscar nominations, including best picture and best supporting actress for both Helen Mirren and Maggie Smith. It won the original-screenplay Oscar, and Altman took the best-director prize at the Golden Globes for "Gosford Park."
Altman's other best-director Oscar nominations came for "M*A*S*H," the country music saga "Nashville" from 1975, the movie-business satire "The Player" from 1992 and the ensemble character study "Short Cuts" from 1993. He also earned a best-picture nomination as producer of "Nashville."
No director ever got more best-director nominations without winning a regular Oscar, though four other men -- Alfred Hitchcock, Martin Scorsese, Clarence Brown and King Vidor -- tied with Altman at five.
"M*A*S*H" was Altman's first big success after years of directing television, commercials, industrial films and generally unremarkable feature films. The film starring Donald Sutherland and Gould was set during the Korean War but was Altman's thinly veiled attack on U.S. involvement in Vietnam.
"That was my intention entirely. If you look at that film, there's no mention of what war it is," Altman said in an Associated Press interview in 2001, adding that the studio made him put a disclaimer at the beginning to identify the setting as Korea.
The film spawned the long-running TV sitcom starring Alan Alda, a show Altman would refer to with distaste as "that series." Unlike the social message of the film, the series was prompted by greed, Altman said.
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