|The Infamous Dorothy Parker: Would You Kindly Direct Me to Hell?||1995 1994 - 1995||Actor||n/a||19957|
|Who Is Henry Jaglom?||1994||Actor||Himself||19947|
|The Secret Lives of Dentists||2003||Director||n/a||4|
|Love at Large||1990||Director||n/a||4|
|Breakfast of Champions||1999||Director||n/a||4|
|Mrs. Parker and the Vicious Circle||1994||Director||n/a||4|
|Barn of the Naked Dead||1975||Director||n/a||4|
|Made in Heaven||1987||Director||n/a||4|
|Welcome to L.A.||1976||Director||n/a||4|
|Trouble in Mind||1985||Director||n/a||4|
|Remember My Name||1978||Director||n/a||4|
|Love at Large||1990||Screenplay||n/a||1|
|Breakfast of Champions||1999||Screenplay||n/a||1|
|Mrs. Parker and the Vicious Circle||1994||Screenplay||n/a||1|
|Welcome to L.A.||1976||Screenplay||n/a||1|
|Trouble in Mind||1985||Screenplay||n/a||1|
|Remember My Name||1978||Screenplay||n/a||1|
|Buffalo Bill and the Indians, or Sitting Bull's History Lesson||1975||Screenplay||n/a||1|
|First film as director to achieve significant theatrical release, "Welcome to L.A."; also wrote screenplay; produced by Altman; inaugurated collaborations with actors Keith Carradine and Geraldine Chaplin, though he knew both from working on Altman films|
|Appeared as himself in Altman's "The Player"|
|Set his noirish melodrama "Trouble in Mind" in the not-to-distant future; picture reteamed him with Kristofferson, playing an idealistic ex-cop fresh from a stint in jail; cast also included Carradine and Bujold; first collaboration with director of photo|
|Directed "The Secret Lives of Dentists" (lensed 2002)|
|Worked at odd jobs for various Hollywood studios|
|Recovered his director's aplomb for "The Moderns", a strikingly visual look at 1920s Paris of the Lost Generation; originally set to shoot picture in late 1970s with Mick Jagger in the role eventually played by John Lone; sixth and last film produced by P|
|First film with producer Carolyn Pfeiffer and first film as director-for-hire, "Roadie"|
|Helmed and co-wrote (with John Binder) "Endangered Species", a conspiracy thriller inspired by real-life cattle mutilations in the Midwest|
|Appeared as himself in the documentary feature "Hollywood Mavericks"|
|Did his best to capture the grandness of Kurt Vonnegut's satiric vision of American greed and commercialism in "Breakfast of Champions"; had originally written screenplay for Altman shortly after novel's publication in 1973; picture reteamed him with Nolt|
|Provided stunning vehicle for Geraldine Chaplin as a woman returning from prison bent on disrupting her ex-husband's life in "Remember My Name", produced by Altman; there were only six prints of the movie, of which reportedly none are extant|
|Directed the feature-length documentary, "Return Engagement", featuring Timothy Leary and G Gordon Liddy|
|Provided a nice look into the world of the Algonquin Hotel's Round Table of writers with "Mrs. Parker and the Vicious Circle", produced by Altman; Carradine, in his fifth film for the director, portrayed Will Rogers; the director's first foray into a fact|
|With Altman, co-wrote the screenplay for "Buffalo Bill and the Indians, or Sitting Bull's History Lesson"|
|First film appearance, "Rocket Man", directed by his father Oscar Rudolph|
|First collaboration with Robert Altman, as an assistant director on "The Long Goodbye"; would also assist Altman on "California Split" (1974) and "Nashville" (1975)|
|Given a camera by his older brother; made over 200 short films|
|Entered Directors Guild of America assistant director's training program|
|Scored critically with "Choose Me", an evocative use of L.A. locations starring Genevieve Bujold, Carradine and Lesley Ann Warren; also wrote and directed that year's "Songwriter" (first film with Kris Kristofferson), starring Willie Nelson|
|First film as director, screenwriter and co-producer, "Premonition", executive produced by his father|
|Helmed "Speaking of Sex"|
|First collaboration with actors Bruce Willis and Glenne Headly, "Mortal Thoughts", co-produced by Demi Moore (who also acted); hired the day before shooting commenced, delivered arguably his most mainstream entertainment, though Columbia, which purchased|
|Reunited with Nolte for "Trixie", produced by Altman; first film with Lesley Ann Warren in 16 years|
|Helmed the misfire about reincarnation, "Made in Heaven"|
|First collaboration with actor Nick Nolte (though both appeared as themselves in "The Player"), "Afterglow", produced by Altman; reteamed with Kurita; picture cost less to make than Nolte's regular Hollywood salary|
|Oscar Rudolph||Father||began acting in films as a teenager; directed primarily for TV; early work tended towards drama (i.e., "The Lone Ranger" ABC, "Playhouse 90" CBS); later specialized in sitcoms like "McHale's Navy" (ABC), "My Favorite Martian" (CBS) and "The Brady Bunch" (NBC); also directed such feature films as "Rocket Man" (1954), "Twist Around the Clock" (1961) and "The Wild Westerners" (1962)|
|University of California at Los Angeles|
|Assistant Directors Training Program, Directors Guild of America|
|Named by the 1985 Toronto Film Festival as one of ten filmmakers whose work would shape the next decade of cinema. He was the only American on the list.|
|Rudolph credits TV directors Joseph Sargent and Leo Penn as inspirations: "They had a sense of romance that I had hoped I would get from directors, but which I found from no one else until I worked with [Robert] Altman." --From DGA News, October-November 1994.|
|About working for studios: "I've been asked to do quite a few things, and the money was always interesting, but I didn't think I could do it or work with certain people. I might have if I hadn't had such bad experiences with some of my earlier films [as a studio hire], which I came out of with a brutal reminder of how something wonderful can be destroyed. I would think I made a pretty good movie and then all the knives would start flashing and what came out the other end was a film that wasn't anyone's vision.
"The thing with those films is that I was always broke. Every time I'd do something for the studios, there would be a paycheck which was more than I'd ever experienced. I was literally checkerboarding my way through the rent. I'd go broke and then do a picture for a studio to pay the rent. But it wasn't worth it, I could see that. No matter how often you play Faust, you're going to get a bad review some way." --Alan Rudolph to in DGA News, October-November 1994.
|"I don't have much knowledge in anything else, so I've basically been making the same film for 20 years. It's very fertile ground, and I just seem interested in the dance that people do together when they don't know the music and they don't know the steps. I'm always interested in taking a stab at this love thing, which just seems endless.'
"A lot of people resist my movies, they really don't like them. I really couldn't figure it out until I began to understand that my films require the audience's participation on an emotional level. You have to basically bring yourself, and a lot of people won't do that.
"The point isn't to strive to be original. My movies aren't made for mass audiences, and I guess I'm not really interested in mass audiences. The masses will take care of themselves. I'm interested in the individual in the audience." --to Boston Globe, January 1, 1998.
|"I tell you what, movies have become currency. It's that good news, bad news thing. The good news is that you can make a movie just about anywhere with anyone for any amount of money, and someone might pay attention. The bad news is that everything's been co-opted. The so-called independent movement is basically a label and a sales pitch. All the independent distributors are owned by the major studios, which means its stuff for one decimal point less. I think filmmakers are in the best and worst of times right now. They should be encouraged to be original and true, but that's not what's happening." --Rudolph quoted in Chicago Tribune, January 23, 1998.|
|"The truth is, the first film I made with real actors, 'Welcome to L.A.', was the most audacious film I'll ever make, because I didn't know the difference. I had written the script for [Robert Altman's] 'Buffalo Bill and the Indians'. 'Buffalo Bill' was at the time a pretty high-budget film, maybe $7 million. Had Paul Newman, all that. So we're in Calgary, the day before shooting, and all those terrific United Artists guys like Arthur Krim and Eric Pleskow fly up to have a big production meeting with Bob. He wants me to be in on the meeting. Bob's sitting there and says, 'OK, let's make a proposition. Our picture costs $7 million. For less than $1 million more, we'll make another movie. Alan will write and direct, and we'll get a lot of stars.' They say OK Later, Bob said, 'Hey, you better write something.' So I made 'Welcome to L.A.'. It wasn't conventional, but I had no frame of reference." --quoted in Filmmaker, Winter 1998.|
|"No one has ever come up to me and asked, 'what do you want to do next?' If I stopped generating [projects] myself, I would just be another statistic." --Rudolph quoted in Screen International, November 14-November 20, 1997.|
|"One of the greatest rejections I ever got was when a foolish agent thought he could send 'Afterglow' to a studio, and the studio guy turned down the script. He said, 'We don't want to make this, it's just about people.' The real truth is I know my films are never going to cost very much money because I can't get very much money to do them, so I restrict the scope before I start writing. On 'Choose me' I was the mouse on the rotating wheel for a new company, Island Alive, and I'd just done a documentary for them, 'Return Engagement', that had worked out. They said, 'That was good, let's do another one.' And I said, 'I want to do a real movie.' I wish I had the napkin, because it was truly a napkin deal. I was sitting there with Chris Blackwell and Carolyn Pfeiffer and they said, 'How much would a movie cost?' And I figured out we could do it for $639,000. They said, 'OK, that's the budget." --quoted in Sight and Sound, June 1998.|
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