Title: Robert Altman
Content:  In 1990, Altman directed Vincent & Theo, a biopic about Vincent van Gogh that was intended as a television miniseries for broadcast in the United Kingdom. A theatrical version of the film was a modest success in the United States, marking a significant turning point in the director's critical resurgence. He revitalized his career in earnest with The Player (1992), a satire of Hollywood. Co-produced by the influential David Brown (The Sting, Jaws, Cocoon), the film was nominated for three Academy Awards, including Best Director. While he did not win the Oscar, he was awarded Best Director by the Cannes Film Festival, BAFTA, and the New York Film Critics Circle. Altman then 
Title: Billy Wilder
Content:  In 1950, Wilder co-wrote and directed the cynical dark noir comedy film Sunset Boulevard. It follows a reclusive silent film actress (Gloria Swanson), who dreams of a comeback with delusions of her greatness from a bygone era. She accompanies an aspiring screenwriter (William Holden), who becomes her gigolo partner. This critically acclaimed film was the final film Wilder collaborated with Brackett. The film was nominated for eleven Academy Awards, together Wilder and Brackett won the Academy Award for Best Original Screenplay. In 1951, Wilder directed Ace in the Hole (a.k.a. The Big Carnival) starring Kirk Douglas in a tale of media exploitation of a caving accident. The idea had 
Title: Heat (1986 film)
Content:  In February 1986 it was announced Robert Altman was to direct. This was considered a surprising choice; although Altman had previously made The Long Goodbye with producer Elliot Kastner the two men had a major falling out when Altman was going to direct 92 in the Shade. However Carol Burnett encouraged Altman to work with Burt Reynolds and the director liked the star, so he accepted. According to Altman's biographer, Patrick McGilligan, the director "detested the commerciality of William Goldman's script". Altman flew to New York, met with Goldman and surprised himself by getting along with him, but the writer did not want to change the script. Altman flew to Las Vegas and used a technicality to get out of making the movie - his desired cinematographer, Pierre Mignot, could not obtain the necessary permits to work on the film so Altman withdrew. He left the film shortly afterwards. He was replaced by Dick Richards, with whom Kastner had made Farewell, My Lovely.
Title: Robert Altman
Content:  Companion was released in June 2006. Altman was still developing new projects up until his death, including a film based on Hands on a Hard Body: The Documentary (1997). In 2006, the Academy of Motion Picture Arts and Sciences awarded Altman an Academy Honorary Award for Lifetime Achievement. During his acceptance speech, he revealed that he had received a heart transplant approximately ten or eleven years earlier. The director then quipped that perhaps the Academy had acted prematurely in recognizing the body of his work, as he felt like he might have four more decades of life ahead of him.
Title: Robert Altman
Content:  Short Cuts (1993), an ambitious adaptation of several short stories by Raymond Carver, which portrayed the lives of various citizens of Los Angeles over the course of several days. The film's large cast and intertwining of many different storylines were similar to his large-cast films of the 1970s; he won the Golden Lion at the 1993 Venice International Film Festival and another Oscar nomination for Best Director. The rest of the 1990s saw limited success for Altman. His 1994 release Prêt-à-Porter (also known as Ready to Wear) garnered significant pre-release publicity, but was a commercial and critical flop, though it got several nominations for year-end awards, including two Golden Globe nominations and 
Title: Final Assignment
Content:  The film had originally been slated to be directed by Silvio Narizzano, although he left the production and Almond was brought in. Production was further complicated when the Soviet government refused Almond's request for stock film footage of Moscow and Leningrad, due to its displeasure at Canada's diplomatic response to the 1979 Soviet–Afghan War. Dewhurst described her experience working on the film as "summer stock in Podunk". She clarified that "the crew was terrific. The hierarchy was at fault. I keep praying that it will never come out. I have no comment about Mr. Almond and you can write that down. You will never see four more confused actors on the screen in your life."
Title: Robert Altman
Content:  By the 1960s, Altman established himself as a TV director due to his ability to work quickly and efficiently on a limited budget. Though he was frequently fired from TV projects for refusing to conform to network mandates, Altman always was able to land new assignments. In 1964, the producers decided to expand "Once Upon a Savage Night", one of his episodes of Kraft Suspense Theatre, for release as a TV movie under the title Nightmare in Chicago. Two years later, Altman was hired to direct the low-budget space travel feature Countdown, but was fired within days of the project's conclusion because he had refused to edit the film to a manageable length. He did not direct another film until That Cold Day in the Park (1969), which was a critical and box-office disaster. During the decade, Altman began to express political subtexts within his works. In particular, he expressed antiwar sentiments regarding the Vietnam War, Because of this, Altman's career would somewhat suffer as he came to be associated with the anti-war movement.
Title: Ed Wood (film)
Content:  direct the project, but due to scheduling conflicts with his work on the film Airheads (1994), he had to vacate the director's position, which was taken over by Burton. Ed Wood was originally in development at Columbia Pictures, but the studio put the film in "turnaround" over Burton's decision to shoot in black-and-white. Ed Wood was taken to Walt Disney Studios, which produced the film through its Touchstone Pictures label. The film proved financially unsuccessful, returning only $5.9 million against an $18 million budget, but was met with critical acclaim upon release, with particular praise for Depp and Landau's performance and the makeup. It eventually became a cult classic and won two Academy Awards: Best Supporting Actor for Landau and Best Makeup for Rick Baker (who designed Landau's prosthetic makeup), Ve Neill and Yolanda Toussieng.
Title: The Awful Truth
Content:  play for Pathé. When Pathé closed, he joined Columbia Pictures. Columbia subsequently purchased all of Pathé's scripts and screenplay rights for $35,000 ($0 in dollars). Doran chose to remake the film in 1937, just as Columbia head Harry Cohn was hiring director Leo McCarey to direct comedies for the studio. Cohn offered the film to director Tay Garnett. Garnett read Dwight Taylor's script, and felt it was "about as funny as the seven-year-itch in an iron lung." He turned it down. According to Garnett, McCarey accepted the project simply because he needed work. "Sure, the script was terrible, but I've seen worse. I worked it over for a few weeks, changed this and that. I finally decided I could make something 
Title: Robert Altman
Content:  Altman reportedly clashed with Evans, Williams (who threatened to leave the film), and songwriter Harry Nilsson (who departed midway through the shoot, leaving Van Dyke Parks to finish the orchestrations). Although the film grossed $60 million worldwide on a $20 million budget and was the second highest-grossing film Altman had directed to that point, it failed to meet studio expectations and was considered a box office disappointment. In 1981, the director sold Lion's Gate to producer Jonathan Taplin after his political satire Health (shot in early 1979 for a Christmas release) was shelved by longtime distributor 20th Century Fox following tepid 

Question: Who was the director of Acceptance?
Answer: Dan Attias.
Daniel Attias.