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Walter Mirisch Contact Details:
REAL NAME: Walter Mirisch
NICKNAME: Walter Mirisch
DOB:8 November 1921
BIRTHPLACE: New York, New York, United States
BIRTH SIGN: Not known
PROFESSION: film producer
FATHER: Harold Mirisch
MOTHER: Not Known
SIBLINGS: Marvin Mirisch
SPOUSE /WIFE: NA
INSTAGRAM: not known
FACEBOOK: Not known
Walter Mirisch Bio
Walter Mirisch and his brothers Marvin and Harold Mirisch were one of Hollywood’s most successful producing teams. Their Mirisch Company produced a wide range of hits, including Some Like It Hot (1959), The Magnificent Seven (1960), West Side Story (1961), The Great Escape (1963), The Pink Panther (1963), and many more.
United Artists financed and distributed the majority of their films, and the brothers purchased the company in 1963 through a stock swap. They stayed with UA, and their production relationships with producers-directors like Billy Wilder, Blake Edwards, and John Sturges became the model for how Hollywood makes movies today. March rose to prominence as a producer on such low-budget “B” fare as Bombay.
The Jungle Boy (1949) at Monogram Pictures. He was a visionary who saw the future of independent producers in the declining years of the Hollywood studio system. The Mirisches kept their overhead low by renting studio stages and facilities only when needed and operating out of rented office space on the old Samuel Goldwyn lot in Hollywood.
Whereas the major studios were still burdened by high overhead and salaries, the brothers were able to attract top talent and offer high fees and flexible control to up-and-coming directors like Norman Jewison, who responded with three hits in a row for them – The Russians Are Coming (1966), In the Heat of the Night (1967), and The Thomas Crown Affair (1968). (1968).
In his 2008 memoir, “I Thought We Were Making Movies, Not History,” he claims that he vetoed John Huston’s desire to cast his daughter Anjelica Huston as the leading lady opposite John Hurt in the film Sinful Davey (1969), the story of a Scottish rakehell. Mirisch was concerned that Angelica, who had only appeared in one other film at the time—A Walk with Love and Death (1969), also directed by her father—would have to adopt a Scottish accent for the role.
Then John [Huston] and I had a serious falling out over Angelica’s casting “a formalized paraphrase (For the record, Angelica is officially 5’10” and Hurt is 5’9″. The producer and his director had numerous disagreements about Anejelica playing the lead, but the director eventually caved and Pamela Franklin was cast instead (Angelica appears in the finished film in an uncredited bit part). Mirisch believes Huston acted unprofessionally during the post-production period following the shooting of “Sinful Davey.”
The initial preview of Huston’s cut of the film in New York was disastrous, and Huston refused to re-cut it after attending another preview, informing Mirisch via his agent that “he liked it just the way it is.” Huston’s agent informed Mirisch that his client “didn’t see any reason to be present at previews.”
The film’s financier, United Artists, was outraged by the previews and demanded a re-edit. Huston refused to re-cut the film, and Mirisch oversaw the re-editing process. “Sinful Davey” was a box office flop. March believes that the failure was caused by the casting of John Hurt in the lead role, but he is certain that the casting of the leading lady had nothing to do with the film’s box office failure.
Mirisch was unable to join the Navy due to a heart murmur, but he was eager to serve his country during World War II. He relocated to Burbank, California, to work at a bomber-plane factory, where he wrote technical articles and shared his knowledge with other military manufacturers. March returned to his original passion, movies, as soon as the war ended.
Another reason for the film’s failure, according to Mirisch, is that American audiences were likely turned off by the actors’ Scottish accents and that it was released too soon after Tom Jones (1963), a huge hit that won the Best Picture Oscar in 1964, five years before the release of “Sinful Davey.” March also thought “Sinful Davey” was less entertaining than “Tom Jones.” Walter Mirisch writes in his memoir “In his autobiography, John Huston stated that he was astounded when he saw what I had done in the re-editing of his film.
Following the death of Olivia DeHavilland, who died in 2020 at the age of 104, Walter Mirisch became the oldest living recipient of an Academy Award. This legendary producer is celebrating his 100th birthday today and is still going strong. His Thalberg Award is prominently displayed on the cover, along with his Oscars. Mirisch was, in fact, the Academy of Motion Picture Arts and Sciences.
President from 1973 to 1977, and has been a powerful voice in the organization’s many decades of existence. When we presented Walter Mirisch with our Lumiere Award at the KCET Cinema Series, which I host, I was honoured to pay tribute to him with a 35mm screening of his 1960 film Magnificent Seven, which I hosted the following year. At the time, I interviewed him on stage and was struck by how well he remembered everything about his entire career, despite the fact that he was 93 years old at the time.
We should all be as fortunate as they are. When Mirisch was presented with the Lumiere, he remarked, “You know, somehow or another, receiving awards never gets old.” Mirisch laughed as he accepted the award. “It’s been a wonderful evening so far. As a result, I’ll have a fantastic opportunity to see The Magnificent Seven, which is a truly landmark film in both my professional and personal lives.”
I inquired as to what the secret was to creating films that are still relevant decades after they were first released. In a way, I guess that’s what classic movies are, and I think a lot of these are — and that’s really the exciting thing about having lived to such a ripe old age: you get to see how succeeding generations respond to your films and the things you wanted to say to audiences.”
He went on to say, “I think it’s particularly true of West Side Story, and the message of West Side Story, which I think needs to be repeated again and again because we haven’t learned our lessons as I had hoped,” hinting at Spielberg’s upcoming adaptation. In the Heat of the Night, which took aim at racial issues right in the heart of the civil rights movement.
I hoped would make a genuine contribution to better understanding and tolerance, among other things.” “And In the Heat of the Night, which attacked the racial issue right in the heart of the civil rights revolution,” I said. In the end, I’m not sure what to say; I’d like to think that it made some kind of contribution, but it hasn’t solved the problem yet, to be honest. Naturally, we are still dealing with this issue, as evidenced by the headlines in today’s news publications. While movies can be entertaining, they can also be extremely valuable in terms of educating people because they are an effective way of getting people to understand complex issues in a way that they can accept.
I believe that picture should be changed. If, for some irrational reason, you decide to, So, once again, if you are unfamiliar with the name Walter Mirisch, perhaps the following film titles will be of assistance: Some of Mirisch’s best-known films include West Side Story, The Apartment, Some Like It Hot, the Magnificent Seven, The Pink Panther,
The Great Escape, One Two Three, The Party, The Children’s Hour, The Russians Are Coming, The Russians Are Coming, Irma La Douce, The Fortune Cookie, Hawaii, Fiddler on the Roof, Midway, and In The Heat Of The Night, for which he won the 1967 Best Picture Oscar for a film he personally produced for his And believe me when I say that this is only a very partial list.
There were also back-to-back Best Picture Oscars in 1960 and 1961 for Apartment and West Side Story, which was a remarkable achievement for any company at the time. MGM/UA In addition to celebrating the milestone of turning 100, this year also marks the 60th anniversary of West Side Story, which has the distinction of being the most-honored movie musical in the history of the Academy Awards, having received a total of 10 Oscar nominations (plus an honorary statuette for the choreography of Jerome Robbins) and winning an Academy Award for Best Original Score.
The film has such staying power that it has taken none other than Steven Spielberg to even attempt a new screen version for his first-ever musical six decades later, and we will be able to see the results when the film premieres next month in theatres. Of course, Walter was one of the first people he spoke with before deciding to go ahead with it. United Artists of America Mirisch’s credits will continue to roll in even after he has completed his first hundred years, just to mention something.
The Pink Panther is a Blake Edwards classic that has spawned numerous sequels, remakes, and television iterations since its 1964 debut (Mirisch’s son Larry will also have a producer credit, continuing the family tradition). According to Deadline, he will have an Executive Producer credit on MGM’s planned live-action/animation reboot of The Pink Panther.
There will be a second Broadway musical adaptation of Some Like It Hot, the 1959 Wilder classic that many (including this writer) consider being the greatest comedy ever made. We can only hope that no one will dare to remake Wilder’s films, which included the critically acclaimed Broadway musical The Apartment. On perfection, there is no room for improvement.
This film spawned numerous sequels as well as a television series and a Denzel Washington-starring movie adaptation (on which Mirisch also had an EP credit). Another project in the works is a new film adaptation of Fiddler on the Roof. The Mirisch Corporation’s final Best Picture nomination came in 1971, and it was a difficult act to follow.
March wrote an autobiography in 2008 (when he doesn’t know the name, let me tell you some of the greatest filmmakers of the time including Billy Wilder, John Sturges, Robert
In response to preview criticism, I attempted to make it less draggy and more approachable to American audiences… I saw John Huston again a few years after the release of ‘Sinful Davey,’ and he was as cold to me as I was to him. I thought his decision to abandon the photograph was unprofessional.” The two never worked together again after Moby Dick (1956), Huston’s adaptation of Herman Melville’s classic novel. Following Olivia de Havilland’s death in 2020, he became the oldest living Academy Award winner.
|Walter Mirisch contact Address, Phone Number, Ema ID, Website|
|Phone Number||(310) 282-9940
|House address (residence address)||The Mirisch Agency
8840 Wilshire Blvd.
Beverly Hills, CA 90211
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New York, New York, United States