Radio for the Eyes

Altman says it was no big deal directing the 19-year-old tabloid queen. In her other films, he notes, "she's been the star, so everybody's kind of kowtowed to her. I think here she was just one of the performers. But she did it very well. . . .

"All her scenes were with Meryl Streep and Lily Tomlin and Garrison, so she was self-policed. There was no nonsense about it."

Now, with most of the female stars gone, the nonsense truly begins. Kline, Harrelson and Reilly (as Guy Noir, Dusty and Lefty) gather for a scene in which the cowboys, standing outside a dressing room, must deliver tragic news to the detective, who then questions them. The scene is straightforward, but Reilly has come up with a modification: as Noir is questioning the old trailhands, there will be a sudden and very audible signal of intestinal distress.

Actors can produce tears on demand, but bodily gases are another matter. Reilly has dispatched someone to purchase one of those little prank machines that produce, in several convincing varieties, the unmistakable sound of flatulence. When Noir reaches a certain point in his interrogation, Reilly surreptitiously triggers the device. The noise is quite loud. It has verisimilitude. Over at the monitor, Altman shakes with silent laughter.

What makes it funny is that the actors never acknowledge the interruption. They just stare at each other for a few long seconds, completely deadpan, and then proceed with their lines. At scene's end, just as he and Harrelson amble off camera, Reilly sets off another depth charge. The camera stays with Kline, who stares after him, perplexed, pained. And: Cut !

"Nice dialogue, Reilly!" Altman calls out.

The scene goes through several rehearsals, then filmings. Each time the crew nearby breaks up -- well, half of the crew does. One female crew member turns to another and says, "Such a guy thing."

Altman wants one more take, but the technicians need a timeout. Several minutes pass and Altman grows impatient. What's the holdup, he demands.

"The fart machine is on the fritz!" a crew member calls back.

Controlled Chaos

Early one afternoon, a pizza is brought to the stage of the Fitz, where Altman is set up. Lunch break won't be until 5 p.m., so the slender kid who has been sitting at Altman's right elbow for a while springs up and fetches a slice for the director.

A few minutes bring the arrival of Virginia Madsen, who portrays a character called Dangerous Woman. Smiling brightly, Madsen presents Altman with a White Castle cheeseburger from the pile that the caterers left in the lobby.

At another point, Reilly reports for his day's work, dressed in full Lefty regalia: Stetson, neckerchief, chaps. He stops by Altman's station.