"Altman’s anti-aesthetics is anti-Hollywood, and he follows instead in the line of Rossellini, de Sica, Fellini, and Bergman. There are of course enormous differences between these European directors and Altman. Although the carnivalesque bustling of many Altman films can recall only Fellini, the two directors’ attitudes toward sound design, for instance, is completely antithetical. Every sound in Fellini is dubbed in postproduction, often quite noticeably, whereas almost everything in Altman is recorded on the spot, including his trademark overlapping dialogue." - Steven Dillon, The Solaris Effect: Art & Artifice in Contemporary American Film