The most notable thing about Robert Altman the filmmaker was his penchant for taking risks and trying new things, bankability be damned. His desire to test his abilities produced a wide range of work over many decades. The great man passed away in 2006 leaving behind an incredible catalogue of films that includes many of my personal favourites.

NASHVILLE: A sprawling ensemble piece that explores the fascinating world of Nashville's country and gospel music scene as well as the political landscape of the time, this is one of the true classics of American cinema. The film is ahead of its time, sharply examining the relationship between celebrity and politics. In an interesting side note Altman had the actors write and perform their own music with surprisingly stellar results.

SHORT CUTS: A complex and involving drama that weaves together a number of parallel and loosely connected stories taking place in Los Angeles. Based on the short stories of Raymond Carver the film examines the loneliness and detachment that permeates American society. Features an extraordinary cast with names like Julianne Moore, Robert Downey Jr. and Frances McDormand.

THE PLAYER: By far the best example of Hollywood turning the camera on itself, this good-natured satire disguised as a thriller is a brilliant deconstruction of show-business. The opening 8-minute tracking shot is an incredible piece of film-making. It's obvious that Altman had a lot of fun taking pot-shots at the studio system he often fought against.

A PRAIRIE HOME COMPANION: Altman's last film, released just 5 months prior to his death, is a fitting final note for the filmmaker. Following the cast of a radio variety show on the night of their final performance, it's impossible not to get swept up in this whimsical and nostalgic tale. Also, who knew Meryl Streep could sing like that?!

MASH: We all grew up on the television series, but here's the film that spawned it. Based on the novel by Richard Hooker this is a blacker than black comedy. Sardonic, witty and haunting, it satirizes the stupidity of war and military bureaucracy to great effect. MASH successfully tapped into the zeitgeist and proved to be Altman's greatest box office success.

THE LONG GOODBYE: A film-noir adaptation of Raymond Chandler's novel of the same name, The Long Goodbye gently parodies the genre, in stunning fashion. Elliot Gould's performance perfectly captures the sweeping paranoia that characterized the era.

McCABE & MRS MILLER: The recent success of revisionist Westerns such as The Assassination of Jesse James and The Proposition proves Altman was ahead of his time with what he called an "anti-western". A richly realised tale of love, death and capitalism McCabe is just as relevant today as it ever was. The soundtrack by Leonard Cohen adds a melancholy beauty to proceedings.

GOSFORD PARK: An incredibly well put together film based around a murder that takes place during a weekend shooting party in rural England in 1932. Critics have complained that the film often loses sight of the actual murder mystery, but they're missing the point. Above all the film is a sharp study of the fascinating characters involved and a comment on the class system that pervaded English society at the time. In an exceptional cast Helen Mirren is particularly outstanding. Her breakdown towards the end of the film is deeply affecting.

DR T & THE WOMEN: Unfairly maligned on release, this is a wry and fast-paced adult comedy. Richard Gere shines as the lone male in a world filled with women.

THE GINGERBREAD MAN: Altman took on this John Grisham adaptation because he'd never produced a thriller before. Flawed but highly enjoyable, Altman puts his signature touch on the genre.

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