Unmade Altman: What the Archive Tells Us

This chapter utilizes archival material from the Robert Altman Papers housed at the Special Collections Research Center, University of Michigan Library, to argue that unproduced projects—a frequently unrecognized tier in a filmmaker’s career—add to our understanding of their authorship and production practices. The chapter examines three of the projects Altman considered making during the last phase of his career, a period when he had an overabundance of choices: Mata Hari (1990–1995, 2000–2004); Paint (aka Ultraviolet, 1998–2004); and Hands on a Hard Body (2004–2006). In the Mata Hari files, a series of letters reveals how Altman developed a unique approach to the historical source material. Research memos in the Paint files highlight the work done by Altman’s collaborators to ensure authenticity and provide space for improvisation. A daily planner and a Post-it note suggest the strategies adopted during the development of Hands on a Hard Body to ensure that Altman could complete the shoot despite his ill health. Exploring these unmade films draws attention to Altman’s process of filmmaking and provides a more nuanced sense of the collaborative and contingent nature of film development.