Foreword
A few years ago, at a small screening room in Santa Monica, Robert Altman was about to screen his new film for the first time, in front of friends and family. I was part of the editorial crew. Since we were only a few weeks into the director’s cut, I hadn’t yet spent much time with Bob, but I was in awe of him. He’d gathered a very Altmanesque group to view the film: Darryl Hannah was there; along with Embeth Davidtz, the film’s co-star; and Nick Nolte, wearing pajamas and a robe.
Bob stood up, and my pulse rate quickened. Test screenings, even for friendly groups, are trying times for those in editorial. What if there’s a sound glitch? What if the projectionist misses a changeover cue? What if (gasp) the film breaks?
Bob began to speak. ...