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Home , Aljean Harmetz, David Begelman, Eric Pleskow, Ira Deutchman, Jerry Weintraub, John Calley

This article is about the film studio. For the cinema chain, see Regal Entertainment Group. For the former record label, see .

The United Artists Media Group (UAMG), formerly known as United Artists Corporation (UA), is an American film and entertainment company. The original studio using the name “United Artists” was founded in 1919 by D. W. Griffith, Charlie , The first United Artists logo, used until the 1967 sale to , and , with the intention Transamerica of controlling their own interests rather than depending upon the powerful commercial studios.[1] ing 20% held by lawyer William Gibbs McAdoo.[4] The An incarnation of United Artists formed in November idea for the venture originated with Fairbanks, Chaplin, 2006 under a partnership between producer/actor Tom Pickford, and cowboy William S. Hart a year ear- Cruise and his production partner, Paula Wagner, and lier as they were traveling around the U.S. selling Liberty Metro-Goldwyn-Mayer. Paula Wagner left the studio on bonds to help the World War I effort. Already veterans August 14, 2008.[2] Cruise owned a small stake in the stu- of , the four film stars began to talk of form- dio until late 2011.[3] In 2014, MGM acquired controlling ing their own company to better control their own work interest in and 's entertain- as well as their futures. ment companies, resulting in another relaunch of United Artists. They were spurred on by established Hollywood pro- ducers and distributors who were tightening their con- trol over actor salaries and creative decisions, a process 1 History that evolved into the rigid . With the ad- dition of Griffith, planning began, but Hart bowed out before things had formalized. When he heard about 1.1 The early years their scheme, Richard A. Rowland, head of Metro Pic- tures, is said to have observed, “The inmates are taking over .” The four partners, with advice from McAdoo (son-in-law and former Treasury Secretary of then-President ), formed their distribu- tion company, with Hiram Abrams as its first managing director. The original terms called for Pickford, Fairbanks, Grif- fith and Chaplin to independently produce five pictures each year. But by the time the company got under way in 1920–1921, feature films were becoming more expen- sive and more polished, and running times had settled at around ninety minutes (or eight reels). It was believed that no one, no matter how popular, could produce and star in five quality feature films a year. Its headquar- ters was established at 729 Seventh Avenue in .[5] Douglas Fairbanks, Mary Pickford, , and D. W. Griffith in 1919 UA’s first film was His Majesty, the American by and star- ring Fairbanks was a success. There was limited funding UA was incorporated as a joint venture on , for movies at the time. Without selling stock to the pub- 1919, by four of the leading figures in early Hollywood: lic like the other studios of the time, all United had to Mary Pickford, Charlie Chaplin, Douglas Fairbanks, and work with was weekly prepayment installments from the- D. W. Griffith. Each held a 20% stake, with the remain- ater owners for the upcoming movies. Thus production

1 2 1 HISTORY

and Chaplin to buy and build theaters under the United Artists name. They also began international operations, first in Canada, then in , and by the end of the 1930s, United Artists was represented in over 40 coun- tries. Schenck resigned in 1935 when an ownership share was denied, Schenck left which set up 20th Century Pictures' merger with Fox Corporation to form 20th Century Fox. Schenck was succeeded by Al Lichtman as company president. A number of other independent producers dis- tributed through United Artists in the 1930s including Productions, , , David O. Selznick and .[6] As the years passed and the dynamics of the business changed, these “producing partners” drifted away, Pro- ductions and Disney to RKO and Wanger to Universal List of UA stockholders in 1920. Pictures. In the late 1930s, UA actually turned a profit while Samuel Goldwyn Productions was providing most of the output for distribution. Goldwyn sued United several times for disputed compensation leading Goldwyn Pro- ductions to leave. MGM’s 1939 hit, Gone With the Wind, the top money maker of all time, was supposed to be a UA release except for the fact Selznick wanted to play , but Gable was under contract to MGM. Also that year Fairbanks died.[6] UA again was embroiled in lawsuits with its top producer, Selznick, over his distribution of some films through RKO and Selznick’s considering their sloppy operation. Selznick left UA and started his own distribution arm.[6] In the 1940s, United Artists was losing money with poor pictures and cinema attendance down as viewers were [6] D.W. Griffith, Mary Pickford, Charlie Chaplin (seated) and moving to TV. It sold off its Mexican releasing division Douglas Fairbanks at the signing of the contract establishing to Crédito Cinematográfico Mexicano, a local company. United Artists motion picture studio in 1919. Lawyers Albert Banzhaf (left) and Dennis F. O'Brien (right) stand in the back- ground. 1.2 Society of Independent Motion Picture Producers (1940s and 1950s) was slow with the company distributing for the first five The Society of Independent Motion Picture Produc- years averaging five films.[6] ers was founded in 1941 by Mary Pickford, Charlie Chaplin, Walt Disney, , Samuel Goldwyn, By 1924, by which time Griffith had dropped out, the company was facing a crisis: either bring in others to David O. Selznick, Alexander Korda, and Walter Wanger help support a costly distribution system or concede de- – many of the same people who were members of feat. The veteran producer Joseph Schenck was hired United Artists. Later members included , as president.[6] Not only had he been producing pictures William Cagney, , and Hal Roach. for a decade, but he brought along commitments for The Society aimed to advance the interests of indepen- films starring his wife, ,[6] his sister-in- dent producers in an industry overwhelmingly controlled law, , and his brother-in-law, Buster by the studio system. SIMPP also fought to end ostensibly Keaton.[6] Contracts were signed with a number of inde- anti-competitive practices by the seven major film stu- pendent producers, most notably Samuel Goldwyn, and dios – Loew’s, , , .[6] In 1933, Schenck organized a new , RKO Radio Pictures, 20th Century company with Darryl F. Zanuck, Twentieth Century Pic- Fox, and Warner Bros./First National – that controlled tures, which soon provided four pictures a year to UA’s the production, distribution, and exhibition of films. [6] schedule and was half the schedule. In 1942, the SIMPP filed an antitrust suit against Schenck also formed a separate partnership with Pickford Paramount’s United Detroit Theatres. The complaint ac- 1.4 Public company 3

cused Paramount of conspiracy to control first-run and 1.4 Public company subsequent-run theaters in Detroit. This was the first an- titrust suit brought by producers against exhibitors alleg- United Artists went public in 1957 with a $17 million ing monopoly and restraint of trade. stock and debenture offering. The company was averag- [6] In 1948, the U.S. Supreme Court Paramount Deci- ing 50 films a year. In 1958, UA acquired Ilya Lopert's sion ordered the major Hollywood movie studios – Lopert Pictures Corporation, which released foreign films in the , that may have attracted criticism or Loew’s/MGM, Paramount, Warner Bros./First National, [7] 20th Century Fox and RKO – to sell their theater chains caused censorship problems. and to eliminate certain anti-competitive practices. This In 1957, United Artists Records Corporation and United effectively brought an end to the studio system. Artists Music Corporation were created after failing to [8] By 1958, many of the objectives that led to the creation buy a record company. In 1968, UA Records was of the SIMPP had been obtained and SIMPP closed its merged with , along with their many offices. labels such as and Dolton Records. In 1972, the group was consolidated into one entity as United Artists Records. It was later taken over by EMI and managed by which contin- ues to control the catalog today. 1.3 The 1950s and 1960s In 1959, after failing to sell several pilots in the previous few years, United Artists offered its first ever television series - The Troubleshooters, an adventure/drama on NBC Needing a turnaround, Pickford and Chaplin hired for- starring Keenan Wynn and Bob Mathias as employees of mer governor of Indiana Paul V. McNutt as chairman and an international construction company.[9] Frank L. McNamee as president. McNutt did not have In the 1960s, mainstream studios fell into decline and the skill to solve UA’s financial problems and the duo was some were acquired or diversified. UA prospered while removed in a few months for a new management team.[6] winning 11 , including five for best On February 16, 1951, lawyers-turned-producers Arthur picture,[6] adding relationships with the Mirisch broth- Krim (of Eagle-Lion ) and ap- ers, , Joseph E. Levine and others. In 1961, proached Pickford and Chaplin with a wild idea: let them United Artists released West Side Story, an adaptation of take over United Artists for ten years. If, at the end of the Leonard Bernstein-Stephen Sondheim stage musical, those years, UA was profitable, they would be given half which won a record ten Academy Awards (including Best the company. Corporation president Spyros Sk- Picture). ouras extended United Artist a $3 million loan through [6] In 1960, United Artists purchased Ziv Television Pro- Krim and Benjamin’s efforts. grams and, using the idea of financial backing for televi- In taking over UA, Krim and Benjamin created the first sion, UA’s television division was responsible for shows studio without an actual “studio.” Primarily acting as such as CBS's Gilligan’s Island and three ABC pro- bankers, they offered money to independent producers. grams, The Fugitive with David Janssen, Outer Limits, UA leased space at the Pickford/Fairbanks Studio, but a science fiction series, and the situation comedy The did not own a studio lot as such. Thus UA did not have Patty Duke Show with Patty Duke and William Schallert. the overhead, the maintenance, or the expensive produc- The television unit also had begun to build up a sub- tion staff that ran up costs at other studios. stantial and profitable rental library, having purchased [10] They had two hits, The African Queen and , Associated Artists Productions, owners of Warner Bros. pre-1950[11][note 1] features, shorts and cartoons and thus turned a profit in their first year.[6] Among their first clients were and , whose “Hori- the cartoons purchased from Paramount Pictures zon Productions” gave UA one major hit, The African in 1958. (See note below at Film archives for more on Queen (1951) and a substantial success, Moulin Rouge this.) (1952), based on the life of Toulouse-Lautrec. Others In 1963 United Artists released two films, followed, among them Stanley Kramer, , the epic comedy It’s A Mad, Mad, Mad, Mad World and Hill-Hecht-Lancaster Productions, and a number of ac- the drama . In 1964, UA introduced tors, newly freed from studio contracts and anxious to U.S. film audiences to by releasing producer produce or direct their own films. Walter Shenson's A Hard Day’s Night (1964) and Help! With the instability in the film industry due to theater (1965). (The group had already made wildly successful holding divestment, the business was considered risky. television appearances on .) Additionally, attendance reached its lowest in 1955 since At the same time it backed two expatriate North Amer- 1923. Chaplin sold his 25% share during this crisis to icans in Britain, who had acquired screen rights to Ian Krim and Benjamin for $1.1 million, followed a year later Fleming's novels. For $1 million, UA backed by Pickford for $3 million.[6] and Albert Broccoli's Dr. No (which was 4 1 HISTORY

a sensation in 1963) and launched the James Bond se- all advertising. At one point, the parent company ex- ries.[6] The franchise has outlived UA’s time as a major pressed their desire to phase out the UA name and re- studio, still running half a century later. Other successful place it with Transamerica Films. Arthur Krim tried projects backed in this period included 's to convince Transamerica to spin-off United Artists, but series, which began in 1964, and Sergio he and Transamerica’s chairman could not come to an Leone's Spaghetti Westerns, which made a star of Clint agreement.[12] Finally in 1978, following a dispute with Eastwood. Transamerica chief John R. Beckett[6] over administra- In 1964, the French subsidiary Les Productions Artistes tive expenses, UA’s top executives, including chairman Krim, president , Benjamin, and other key Associés released its first production, That Man From Rio. officers walked out. Within days they announced the for- mation of ,[6] with backing from Warner. The departures of Krim, Pleskow and Benjamin con- cerned several Hollywood figures enough that they took 1.5 Transamerica Corporation subsidiary out an ad in a trade paper warning Transamerica that it had made a fatal mistake in letting them go. On the basis of its fantastic string of film and television Transamerica placed Andy Albeck in as UA’s president. hits in the 1960s, the company was an attractive property, United had its most successful year with four hit pictures and in 1967, 98% of UA stock were purchased by the San in 1979 with II, Manhattan, , and The Francisco-based insurance giant, the Transamerica Cor- Black Stallion.[6] poration. Transmerica selected David and Arnold Picker to lead UA.[6] The new leadership of UA agreed to back Heaven’s Gate, the pet project of director which overran UA released another Best Picture Oscar winner in 1967, its budget to cost $44 million. This led to the resigna- In the Heat of the Night, starring Sidney Poitier and Rod tion of Albeck and replacement by Norbert Auerbach.[6] Steiger, and a nominee for Best Picture, , United Artists recorded a major loss for the year due al- an Embassy production that UA distributed overseas. most entirely to the Heaven’s Gate fiasco. To Transamer- In 1970, UA lost $35 million; thus the Pickers were ica, it was only a blip on a multibillion-dollar balance pushed aside for the return of Arthur Krim and Robert sheet, but it soured the relationship forever. To the Benjamin.[6] greater Hollywood community, it also signaled that UA was a company that could no longer produce bankable For a time the flow of successful pictures continued, in- pictures. The Heaven’s Gate fiasco may have saved the cluding the 1971 screen version of . United Artists brand as UA’s final head before the sale, (However, the 1972 film version of Man of La Mancha , wrote in his book Final Cut that there was was a failure.) New talent was encouraged, including talk about renaming United Artists to Transamerica Pic- , , , Saul tures. Zaentz, Miloš Forman, and . In 1973, UA took over the sales and distribution of MGM's films In 1980, the Transamerica leadership decided the com- in Anglo-America for 10 years,[6] while Cinema Inter- pany should exit the film making business, and United national Corporation took over international distribution Artists was put up for sale. 's Tracinda rights. Corp. purchased the company.[13][14] Tracinda also owned Metro-Goldwyn-Mayer which was combined with In 1975, Harry Saltzman sold UA his 50% stake in United Artists in 1981.[15] , the holding-company for the Bond films. UA was to remain a silent partner, putting up money, while Albert Broccoli took producer credit. Danjaq and UA have re- mained the public co-copyright holders for the Bond se- 1.5.1 United Artists Classics ries ever since, and the 2006 Casino Royale release shares the copyright with Columbia Pictures. In 1981, United Artists Classics, which had formerly been a division of the company that re-released library titles, One Flew Over the Cuckoo’s Nest was released by UA in was turned into a first-run art film distributor by Nathaniel 1975, which won the Best Picture Academy Award and T. Kwit Jr. Tom Bernard was hired as the division’s head earned $56 million. UA followed that movie up with the of sales, and [16][17] as its head of market- next two years’ Best Picture Oscar winners, Rocky and [6] ing. Later the division added Michael Barker and Donna Woody Allen’s . Gigliotti. Deutchman left to form Cinecom, and Barker However, Transamerica was not pleased with UA’s fre- and Bernard later went on to form and quent releases of films rated X by the Motion Pic- Pictures Classics. The label mostly released for- ture Association of America, such as eign and independent films such as Ticket to Heaven and and Last Tango in ; in these instances, Transamer- The Grey Fox, and occasional first-run reissues from the ica demanded the byline “A Transamerica Company” UA library, such as director’s cuts of Joan Micklin Sil- be removed from the UA logo on the prints and in ver's Head Over Heels and Ivan Passer's Cutter’s Way. 1.7 MGM/UA Communications Company 5

When Barker and Bernard left to form Orion, the label Artists for roughly $480 million.[25][26] was briefly rechristened MGM/UA Classics before it was finally shut down in the late 1980s. 1.7 MGM/UA Communications Company

1.6 MGM/UA Entertainment Company

The merged companies became MGM/UA Entertain- ment Company and began launching in 1982 new sub- sidiaries: the MGM/UA Home Entertainment Group, MGM/UA Classics, and the MGM/UA Television Group. Kerkorian also bid for the remaining public stock still outstanding which was dropped after resistance via lawsuits and voiced opposition.[6] After the purchase of United Artists, 's duties were transferred to that unit from MGM. Under Begelman, MGM/UA produced a number of unsuccess- ful films, and he was fired in July 1982. Out of the 11 films he put into production, by the time of his release from the studio, only one film, , proved to be a clear hit.[18][19] Logo from 1987 to 1994. As part of the consolidation, MGM closed and put up for sale in 1983 United Artists’ long time headquarters at 729 Due to concerns in the financial community over the [20] Seventh Avenue in New York City. debt load of his companies, was forced to WarGames and in the early 1980s made profits sell MGM's production and distribution assets to United for the new MGM/UA, but were not sufficient for Kerko- Artists for $300 million on August 26, 1986.[25][26][30][31] rian. A 1985 restructuring led to an independent MGM The MGM lot and lab facilities were sold to Lorimar- and UA production units with the combined studio lead- Telepictures.[30] Turner kept the pre-May 1986 MGM ers each placed in charge of a single unit. Speculation film and television library, along with the Associated from analysts was that one of the studios, most likely UA, Artists Productions library, Gilligan’s Island and its an- would be sold to fund the other’s buy-back of stock to take imated spin-offs, and the RKO Pictures films that United that studio private, expected to be MGM. However, soon Artists had previously purchased.[30] afterwards, one unit’s chief was fired and the remaining United Artists was renamed MGM/UA Communications [6] executive, , Jr., took charge of both. Company (MUCC), organizing the company into three main film units: one television production and two film units. David Gerber headed up the TV unit with An- 1.6.1 Turner thony Thomopoulous at UA and Alan Ladd, Jr. at MGM. On August 7, 1985, it was announced that Ted Turner's Despite having a resurgence at the box office in 1987 with , , and , Turner Broadcasting System would buy MGM/UA. As [6] film licensing to television became more complicated, MUCC lost $88 million. Turner saw the value of acquiring MGM's film library In April 1988, Kerkorian’s 82% of MUCC was up for for his WTBS.[21] Under the terms of the sale, with MGM and UA being split by July. Eventually, deal, Turner would immediately sell United Artists back 25% of MGM was offered to Burt Sugarman, produc- to Kerkorian.[15] ers and , but the plan fell through. In anticipation of the MGM sale, Kerkorian installed Rich, Ladd, Thomopoulous, and other executives grew tired of Kerkorian’s inexplicable actions and began to exit film producer as the chairman and chief [6] executive of United Artists Corporation in November the company. 1985.[22] Former American Broadcasting Company ex- Nevertheless, the studio was able to manage box-office ecutive Anthony Thomopoulos was recruited as UA’s hits such as (winner of the 1988 Oscar for president[23] Weintraub’s tenure at UA was brief; he left Best Picture), Baby Boom, and The Living Daylights. the studio in April 1986, and his void was subsequently However, during this period, the company’s fortunes lan- filled by former Lorimar executive .[24] guished greatly, losing money while its market share de- On March 25, 1986, the acquisition of MGM/UA by clined to 8% by the end of the 1980s. Ted Turner was finalized in a cash-stock deal for $1.5 By summer 1988, the mass exodus of executives started billion,[21][25][26][27] and was renamed “MGM Entertain- to affect productions, with many film cancellations. ment Co.”.[28][29] Kerkorian then repurchased United The sale of MGM/UA to the Australian company 6 1 HISTORY

Qintex/Australian Television Network (owners of the was Things You Can Tell Just by Looking at Her. Hal Roach library both MGM and UA distributed in UA (re-christened United Artists Films) hired Bingham the 1930s) in 1989 also fell through, due to the com- Ray, who previously founded October Films, to run the pany’s bankruptcy later that year. On November 29, company[14] in 2000. Under his supervision, it pro- 1989, Turner Broadcasting System (the owners of the duced and distributed many “art-house” films, among pre-May 1986 MGM library) attempted to buy enter- them Michael Moore's ; 2002’s tainment assets from Tracinda Corporation, including Nicholas Nickleby and the winner of that year’s Academy MGM/UA Communications Co. (which also included Award for Best Foreign Language Film, No Man’s Land; United Artists, MGM/UA Home Video, and MGM/UA [32] and 2004’s Undertow, directed by David Gordon Green, Television Productions), but failed. UA was essentially and Terry George's , a co-production of UA dormant after 1990, releasing no films for several years. and Lions Gate Entertainment. In 2005, a partnership of , Sony and several 1.8 The merchant banks bought United Artists and its parent, MGM, for a total of $4.8 billion.[14] Though only a mi- Eventually, in 1990, came the sale to Italian promoter nority investor, Sony closed MGM’s distribution system [14] Giancarlo Parretti, who attempted to purchase Pathé the and folded most of their staff into their own studio, previous year. Parretti had bought a smaller company and the movies UA had completed and planned for re- and renamed it Pathé Communications anticipating a suc- lease (Capote, Art School Confidential, The Woods, and cessful buy of the original French company, but failed in Romance and Cigarettes) were reassigned to Sony Pic- [14] that attempt, so instead merged MGM/UA with his for- tures Classics. mer company, resulting in MGM-Pathé Communications In March 2006, MGM announced that it would re- Co. Having bought MGM/UA by overstating his own fi- turn once again as a distribution company domestically. nancial condition, within a year Parretti had defaulted to Striking distribution deals with , his primary bank, Crédit Lyonnais, which foreclosed on , Bauer Martinez Entertainment the studio[14] in 1992, also resulting in the sale or clo- and other independent studios, MGM distributed films sure of MGM/UA’s string of US theaters. On July 2, from these companies. MGM continues funding and co- 1992, MGM-Pathé Communications Co. was renamed producing projects that are released in conjunction with back to Metro-Goldwyn-Mayer, Inc. In an effort to make Sony’s Columbia TriStar Motion Picture Group on a lim- MGM/UA saleable, Credit Lyonnais ramped up produc- ited basis and is producing “tentpoles” for its own distri- tion, and convinced to run UA.[14] Under his bution company, MGM Distribution. supervision, Calley revived two long-running franchises, and James Bond films,[14] and touched Sony had a minority stake in MGM but otherwise MGM on an aspect of UA’s past by giving the widest release and UA operated under the direction of Stephen Cooper ever to a film with an NC-17 rating, Paul Verhoeven and (CEO of MGM and a minority owner himself). Joe Eszterhas's controversial . MGM was sold by Credit Lyonnais in 1996, again to Kirk Kerkorian’s Tracinda,[14] resulting in the departure of Calley as UA 1.9.1 United Artists Entertainment president. On November 2, 2006, MGM announced that actor In 1999, filmmaker attempted to and his long-time production partner Paula buy UA from Kerkorian. The deal was rejected, but Cop- Wagner were resurrecting UA[35][36] (this announcement [33] pola signed a production deal with the studio instead. came after the duo were released from a fourteen-year production relationship at -owned Paramount Pictures earlier that year). Cruise, Wagner and MGM 1.9 The 2000s to present Studios created United Artists Entertainment LLC and the producer/actor and his partner owned a 30% stake in In 1999, UA was repositioned as a specialty studio.[34] the studio,[37] with the approval by MGM’s consortium of MGM had just acquired The Samuel Goldwyn Com- owners. pany, which had been a leading distributor of arthouse films, and after that name was retired, MGM folded UA The deal gave them control over production and devel- into Metro-Goldwyn-Mayer Pictures. G2 Films, suc- opment of films. Wagner was named CEO of United cessor to Goldwyn, was renamed United Artists. The Artists, which was allotted an annual slate of four films distributorship, branding, and copyrights for UA’s main with different budget ranges, while Cruise served as a franchises (James Bond, Pink Panther, and Rocky) were producer for the revamped studio as well as serving as moved to MGM, although select MGM releases (notably the occasional star. the James Bond franchise co-held with Danjaq, LLC UA became the first motion picture studio granted and the Amityville Horror remake) carry a United Artists a WGA waiver in January 2008 during the Writers’ copyright. The first arthouse film to bear the UA name Strike.[38] 7

On August 14, 2008, MGM announced Paula Wag- releases, such as Scrooge (1951), High Noon (1952) and ner would leave United Artists to produce films The Final Countdown (1980), are still under copyright but independently.[2] Her output as head of UA was two films, not owned by MGM. both starring Cruise, [39] and Valkyrie, the latter of which, despite mixed reviews, was success- ful at the box office thanks to $117 million in foreign revenue.[40] Wagner’s departure led to speculation that an overhaul at United Artists was imminent.[2] 3 UA films on video Since then, United Artists has merely served as a co- producer with MGM for two releases: the 2009 remake UA originally leased the home video rights to its films (in- of Fame and . Throughout 2010, cluding the pre-1950 Warner Bros. classics they owned due to continued debt and credit issues for MGM Hold- at the time) to , the first home video com- ings, Inc., United Artists’ parent company had left the fu- pany. Magnetic was purchased by 20th Century Fox ture of MGM and UA in doubt until it was resolved near in 1981 and was renamed 20th Century-Fox Video that the end of the year. year. In 1982, 20th Century-Fox Video merged with CBS Video Enterprises (which had demerged with MGM/CBS A 2011 financial report revealed that MGM reacquired Home Video after MGM merged with UA) giving birth [37] its 100% stake in United Artists. MGM stated that it to CBS/Fox Video. Although MGM owned UA around [37] might continue to make new films under the UA brand. this time, the latter studio’s licensing deal with CBS/Fox was still in effect; however, the newly renamed MGM/UA Home Video started releasing some UA product, includ- 1.9.2 United Artists Media Group ing UA films originally released in the mid 80s. Prior to MGM’s purchase, UA licensed foreign video rights to On September 22, 2014, MGM acquired a 55% interest Warner Bros. through Warner Home Video, in a deal in One Three Media and , both oper- that was set to expire in 1991.[43] In 1986, the pre-1950 ated by married Hollywood producers Mark Burnett and WB and the pre-May 1986 MGM film and television li- actress Roma Downey and partly owned by Hearst En- braries were purchased by Ted Turner after its short-lived tertainment. The two companies were consolidated into ownership of MGM/UA, and as a result CBS/Fox lost a new film and television company, United Artists Media home video rights to the pre-1950 WB films to MGM/UA Group. Burnett became UAMG’s CEO and Downey be- Home Video. When the deal with CBS/Fox (inherited came president of Lightworkers Media, the UAMG fam- from Magnetic Video) expired in 1989, the UA films be- ily and faith division. UAMG became the distributing gan to be issued through MGM/UA Home Video. studio for Mark Burnett Productions programming such as Survivor. UAMG will also form an over-the-top faith- In 1988, United Artists licensed the video releases for its based channel.[14][41] more obscure titles to a small specialty video distributor called Wood Knapp Video. This deal lasted in effect until On December 14, 2015, MGM announced that it had ac- 1995. quired the remaining 45% stake of UAMG it did not yet own. Hearst, Downey, and Burnett will receive stakes in MGM collectively valued at $233 million. Additionally, Burnett was promoted to CEO of MGM Television, re- placing the outgoing Roma Khanna. The planned over- 4 United Artists Broadcasting the-top faith service will become a separate entity owned by MGM, Burnett, Downey, and Hearst.[42] United Artists owned and operated two television stations between the years of 1968 and 1977. Legal ID’s for the company would typically say “United Artists Broadcast- 2 Library and historical list of ing: an entertainment service of Transamerica Corpora- films tion,” along with the Transamerica “T” logo. Additionally, United Artists Broadcasting also held the Main article: List of United Artists films permit to KUAB-TV in , Texas, which would have possibly launched sometime around 1969 on chan- nel 20; the station would eventually launch in 1982 un- A majority of UA’s post-1952 library is now owned by [44] MGM, while the pre-1952 films (with few exceptions) are der different ownership as KTXH. United Artists also now either owned by other companies or in the public do- owned one radio station, WWSH in , from main. However, throughout the studio’s history of releas- 1970 to 1977. ing its films, UA has acted as more of a distributor rather UAB/Transamerica left the broadcasting business in 1977 than a film studio, crediting the copyright to the produc- by selling WUAB to the Gaylord Broadcasting Company tion company responsible. This explains why certain UA and WWSH to . 8 7 REFERENCES

5 See also [12] Young, Josh; Medavoy, Mike (2002). You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, • List of United Artists films and 100 for Which I Should Be Shot. New York: Atria Books. pp. 85–86. ISBN 9780743400558. • United Artists Television [13] Cole, Robert J. (1981-05-16). “M-G-M IS REPORTED PURCHASING UNITED ARTISTS FOR $350 MIL- • United Artists Records LION”. NYTimes.com. Retrieved 2015-08-17.

[14] Fleming, Mike Jr; Busch, Anita (September 22, 2014). 6 Notes “MGM Buys 55% Of Roma Downey And Mark Burnett’s Empire; Relaunches United Artists”. Deadline (Penske Business Media). Retrieved November 4, 2014. [1] WB retained a pair of features from 1949 that they merely distributed, and all short subjects released on or after [15] Fabrikant, Geraldine (August 8, 1985). “Turner Acquir- September 1, 1948, in addition to all cartoons released ing MGM Movie Empire”. New York Times. Retrieved in August 1948. November 4, 2014.

[16] “Handle With Care”. American Film. Winter 1980.

7 References [17] Siskel, Gene (May 16, 1982). “Hellow, Sweet Art: Small Films Big Success in ”. .

[1] Woo, Elaine (September 29, 2011). “ dies at [18] Harmetz, Aljean (July 12, 1982). “Begelman Removed as 92; found new audience for Chaplin”. Times. Chief of United Artists”. . Retrieved Retrieved 2011-10-01. December 23, 2014.

[2] Fleming, Michael (August 14, 2008). “Paula Wagner [19] ALJEAN HARMETZ, Special to the New York Times Leaves UA”. Daily Variety (Reed Business Information). (1982-07-13). “Begelman Removed As Chief Of United Retrieved August 14, 2008. Artists”. NYTimes.com. Retrieved 2015-01-26.

[3] Lieberman, David (2012-03-22). “MGM Takes A Loss [20] “700 BANKERS TRUST WORKERS TO BE SHIFTED On 'Dragon Tattoo' And Seeks Better Terms For Sequels”. TO JERSEY CITY”. New York City; Jersey City (Nj): Deadline. Retrieved 2015-01-26. NYTimes.com. 1983-03-31. Retrieved 2015-08-17.

[4] Siklos, Richard (March 4, 2007). Mission Improbable: [21] Prince, Stephen (2000). A New Pot of Gold: Hollywood Tom Cruise as Mogul. New York Times under the Electronic Rainbow, 1980-1989 ([Paperback ed.] ed.). Berkeley: University of Press. pp. [5] “United Artists, Volume 1, 1919–1950: The Com- 14–16. ISBN 0-520-23266-6. pany Built by the Stars - Tino Balio - Google Books”. Books.google.com. Retrieved 2015-08-17. [22] Dellugach, Al (November 12, 1985). “Weintraub Is New Chief of United Artists”. . Retrieved [6] Metro-Goldwyn-Mayer Inc. History. International Direc- November 4, 2014. tory of Company Histories. Vol. 25. St. James Press. 1999. Retrieved December 20, 2014. [23] Special to the New York Times (1985-11-20). “New Head For United Artists”. NYTimes.com. Retrieved [7] Balio, Tino (1987). United Artists: The Company that 2015-01-26. Changed the (1. print. ed.). Madison, Wis.: University of Wisconsin Press. pp. 226–227. ISBN [24] Harris, Kathryn (1986-04-29). “Rich Resigns From Lori- 9780299114404. mar to Become Chairman of UA - Los Angeles Times”. Articles.latimes.com. Retrieved 2015-01-26. [8] “UA sets up own diskery label”. Billboard (Nielsen Busi- ness Media). October 14, 1957. Retrieved December 22, [25] Bart, Peter (1990). Fade Out: The Calamitous Final Days 2014. of MGM (1st ed.). New York: Morrow. ISBN 0-688- 08460-5. [9] McNeil, Alex (1996). Total Television: The Compre- hensive Guide to Programming from 1948 to the Present [26] Parsons, Patrick R. (2008). Blue Skies: A History of Ca- (4th ed.). New York: Penguin Books. p. 866. ISBN ble Television ([Online-Ausg.] ed.). Philadelphia: Temple 9780140249163. University Press. ISBN 1-59213-287-1.

[10] “Media History Digital Library : Free Texts : Download [27] Stefoff, (1992). Ted Turner, Television’s Tri- & Streaming : ”. Archive.org. 2011-03- umphant Tiger. Ada, Okla.: Garrett Educational Corp. 25. Retrieved 2015-08-07. ISBN 1-56074-024-8.

[11] Schickel, Richard; Perry, George (2008). You Must Re- [28] Storch, Charles (May 7, 1986). “Chicago Tribune: Turner member This: The Warner Bros. Story. Philadelphia, Pa.: May Sell Equity In Company”. Pqasb.pqarchiver.com. Running Press. p. 255. ISBN 9780762434183. Retrieved 2011-12-15. 9

[29] Gendel, Morgan (June 7, 1986). “Turner Sells The Stu- • Balio, Tino. United Artists: The Company That dio, Holds on to the Dream – Los Angeles Times”. Arti- Changed the Film Industry. Madison: University of cles.latimes.com. Retrieved 2011-12-15. Wisconsin Press, 1987.

[30] Fabrikant, Geraldine (1986-06-07). “Turner To Sell Mgm • Berg, A. Scott. Goldwyn. New York: Alfred A. Assets”. NYTimes.com. Retrieved 2015-01-26. Knopf, 1988.

[31] “Turner, United Artists Close Deal”. Orlando Sentinel. • Gabler, Neal. An Empire of Their Own: How the UPI. August 27, 1986. Retrieved 2013-09-20. Jews Invented Hollywood. New York: Crown Pub- [32] Fabrikant, Geraldine (November 29, 1989). “Turner Buy- lishers, 1988. ing MGM/UA”. The New York Times (The New York • Times Company). Retrieved 2014-10-02. Schickel, Richard. D.W. Griffith: An American Life. New York: Simon & Schuster, 1983. [33] Young, Josh; Medavoy, Mike (2002). You're Only as Good as Your Next One: 100 Great Films, 100 Good Films, • Thomson, David. Showman: The Life of David O. and 100 for Which I Should Be Shot. New York: Atria Selznick. New York: Alfred A, Knopf, 1992. Books. p. 92. ISBN 9780743400558.

[34] “United Artists restructuring by MGM - Jun. 7, 1999”. Money.cnn.com. June 7, 1999. Retrieved 2015-01-26. 9 External links

[35] “MGM Puts Cruise in Charge of New United Artists”. • Official website USA Today. November 2, 2006. Retrieved May 20, 2010. • [36] Petrecca, Laura; Lieberman, David (November 2, 2006). United Artists at the Internet Movie Database “Tom Cruise, producing partner cut a deal with United • United Artists Corporation Records 1919–1965 are Artists”. . Retrieved May 20, 2010. at the Wisconsin Center for Film and Theater Re- [37] Ben Fritz (2012-03-23). “MGM regains full control of search. United Artists - Los Angeles Times”. Latimes.com. Re- trieved 2015-01-26.

[38] “SHOCKER! WGA To Announce Side Deal With Tom Cruise’s United Artists; Now Studio Moguls Mad at MGM’s Sloan”. Daily. January 4, 2008. Retrieved May 20, 2010.

[39] Cieply, Michael (April 23, 2008). “The Nazi Plot That’s Haunting Tom Cruise and United Artists”. The New York Times. Retrieved April 29, 2008.

[40] “Valkyrie (2008)". Box Office Mojo. Box Office Mojo, LLC. Retrieved April 13, 2009.

[41] Highfill, Samantha (17 January 2015). “MGM is launching the United Artists Media Group (again)". . Retrieved 11 May 2015.

[42] “Mark Burnett Named President of MGM Television”. Variety. Retrieved 14 December 2015.

[43] Fabrikant, Geraldine (May 31, 1988). “For MGM/UA, Bidders Are Scarce”. New York Times.

[44] “Houston Radio History: Houston Television Timeline”. Houstonradiohistory.blogspot.com. 2007-06-30. Re- trieved 2015-01-26.

8 Bibliography

• Bach, Steven. Final Cut. New York: Morrow, 1985. • Balio, Tino. United Artists: The Company Built by the Stars. Madison: University of Wisconsin Press, 1976. 10 10 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

10 Text and image sources, contributors, and licenses

10.1 Text

• United Artists Source: https://en.wikipedia.org/wiki/United_Artists?oldid=698640359 Contributors: Damian Yerrick, Mav, Bryan Derk- sen, Deb, Olivier, Paul Benjamin Austin, Paul A, Tregoweth, Annetit, CatherineMunro, Bluelion, Angela, Mcfly85, Hashar, Choster, Jwrosenzweig, Zoicon5, Grendelkhan, Nv8200pa, K1Bond007, Sjorford, Bearcat, Modulatum, Postdlf, FredR, Rfc1394, Nilmerg, Cyrius, Tobias Bergemann, Bob Palin, Rossrs, HangingCurve, Everyking, Hiphats, Gugganij, H1523702, MisfitToys, Jokestress, Bosmon, F13nd, Sam, Ocon, Rich Farmbrough, Ranma9617, Bender235, Closeapple, Brian0918, JustPhil, MBisanz, Lyght, TMC1982, BigDan, Cmdr- jameson, Trevj, Nemalki, Ryanasaurus007, Philip Cross, Ashley Pomeroy, Erik, Paul Martin, Cburnett, Sciurinæ, Jackyan, Instantnood, Empoor, Richard Arthur Norton (1958- ), Firsfron, Woohookitty, Skyraider, Trogga, Pol098, Don-Don, Ampmouse, Tabletop, MartinVil- lafuerte85, Inventm, SDC, Ryanasaurus0077, Marudubshinki, Slgrandson, SteveCrook, BD2412, Ted Wilkes, Noirish, Rjwilmsi, Darguz Parsilvan, The wub, FlaBot, Aphasia83, CR85747, ChesterG, Mark83, Elmer Clark, Alphachimp, Dfmock, Mrschimpf, Metropolitan90, Igordebraga, Quentin X, Kollision, RussBot, King Shadeed, ScrippsONEDetroit, Gaius Cornelius, NawlinWiki, SaxofoneDL, Welsh, Mar- tin villafuerte85, Martinvillafuerte85, Mikeblas, Tony1, Slicing, Pegship, Wspencer, [email protected], Cloudbound, Jogers, DGaw, CoolKatt number 99999, Astonmartini, Sugar Bear, ViperSnake151, Djr xi, Kingboyk, GrinBot~enwiki, One, Dsreyn, Sintonak.X, Smack- Bot, Georgeryp, Bigbluefish, Westsidepb, Yamaguchi, Argussventon, Gilliam, Dark jedi requiem, CajunGypsy, Chris the speller, CSWarren, Royboycrashfan, OrphanBot, Fightingirish, Steelbeard1, Lox, Jagarin, Wizardman, Where, Ohconfucius, Sambot, High- schooler35, Elil, Scoty6776, Ckatz, Ace Class Shadow, Neddyseagoon, Sharnak, Truthiness Jones, AEMoreira042281, BigT2006, TJ Spyke, Tmisch64, Sky Captain, Billy Hathorn, Glickmam, Amniarix, CmdrObot, Wafulz, AlbertSM, ShelfSkewed, WeggeBot, Admi- ral of the World, RivenWinner, Phl3djo, Cydebot, Jkanan, Burgwerworldz, Lugnuts, Flowerkiller1692, DumbBOT, Jimcripps, Smee, Eco84, Kieranthompson, Nick Number, SusanLesch, Prolog, Dr. Blofeld, Edokter, Tjmayerinsf, Hopiakuta, AdamDeanHall, Yellowdesk, Krtek2125, Nathan Obral, Mnasiri7, Pawlis, Jimknock, The penfool, Pipedreamergrey, Tony Myers, AllTalking, MER-C, Clickophone Guy, Minnaert, Wbwn, Desertsky85451, MegX, .anacondabot, Pjlon, VoABot II, RBBrittain, Scanlan, Coffee4binky, Gabe1972, Khark- less, JPG-GR, Cartoon Boy, KConWiki, Musimax, Stantheman8609, Donald McKinney, SlamDiego, Fhb3, Ultraviolet scissor flame, InnocuousPseudonym, Jay Litman, CommonsDelinker, FMAFan1990, Richiekim, Hans Dunkelberg, Eliz81, IFF, Cop 663, NY4Life, BoloBouncer, Mrceleb2007, Starwolf48, Darth007, Spshu, Thismightbezach, Signalhead, VolkovBot, Shortride, Bovineboy2008, TXiK- iBoT, Crackmac, Monkey Bounce, CoconutHead65, Rocky stallone, Urbanrenewal, TheValentineBros, Dirkbb, Rebel shadow, Noillirt, Ttonyb1, Sposato, WereSpielChequers, BillFaust, Chazzy88, Ekaty, Ludivine, Wedg~enwiki, 1.21 jigwatts, Veldin963, Ken123BOT, Hans yulun lai, Lauren, Correctonator, ImageRemovalBot, Martarius, Helenabella, Patrick Rogel, Loginnowplease, D10, TheOldJacobite, Foof- bun, Nytimes19992000, Niceguyedc, Trivialist, Cirt, Auntof6, 718 Bot, Bbb2007, DragonBot, MovieMadness, Estirabot, Marktolps, Dutzi, Error −128, Twelveoaks, Lord Cornwallis, Mikomaid, Cliff1911, Addbot, The Twenty Thousand Tonne Bomb, CycloneGU, Kevzspeare, LaaknorBot, Mr Hall of England, Buster7, Tassedethe, Lightbot, Luckas-bot, Yobot, Granpuff, TheMovieBuff, Xnacional, AnomieBOT, Ulric1313, Flewis, ArthurBot, TinucherianBot II, Betty Logan, BurgerKingFanaticIsBack, SassoBot, A Friendly Nerd, Superastig, Fin- gerz, Ndboy, Michael93555, LargoLarry, Agbwiki, Freshh, Andrei Rublev, Peroxwhy2gen, Spidey104, Tinton5, Full-date unlinking bot, 70Jack90, Vrenator, Carniolus, RjwilmsiBot, DexDor, NameIsRon, Beyond My Ken, Look2See1, AaronLLF, Werieth, Vladwin, Bilbo571, Celebrity numbers, BornonJune8, FilmandTVFan28, Luxoman237, Helpful Pixie Bot, YborCityJohn, SchroCat, MusikAnimal, ERJANIK, Ldavid1985, Bethjk4, Napsync, BattyBot, CodyTCBY, ChrisGualtieri, Khazar2, Dobie80, Mogism, BDE1982, I am One of Many, Кирилл Ерин, Bioscopic, Hitcher vs. Candyman, Monkbot, Enter1your1information1below, Diegodaniel5517, Filedelinkerbot, StephenCezar15, F*ck your hole you sh*t, Lgnmrshllhlms, ClassicOnAStick, FourViolas, Nathan3068alt, Delta Pavonis and Anonymous: 408

10.2 Images

• File:Acap.svg Source: https://upload.wikimedia.org/wikipedia/commons/5/52/Acap.svg License: Public domain Contributors: Own work Original artist: F l a n k e r • File:Ambox_important.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public do- main Contributors: Own work, based off of Image:Ambox scales.svg Original artist: Dsmurat (talk · contribs) • File:Fairbanks_-_Pickford_-_Chaplin_-_Griffith.png Source: https://upload.wikimedia.org/wikipedia/commons/8/86/ Fairbanks_-_Pickford_-_Chaplin_-_Griffith.png License: Public domain Contributors: Tino Balio, United Artists : The Company Built by the Stars (0-299-11440-6) at the chapter Artists in business (1919) (2009 edition, page 4) Original artist: Unknownwikidata:Q4233718 • File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0 Contributors: Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist: Tkgd2007 • File:United_Artists_1919.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/83/United_Artists_1919.svg License: Public domain Contributors: • United_Artists_Logo_1919.JPG Original artist: United_Artists_Logo_1919.JPG: United Artists Corporation • File:United_Artists_1987.svg Source: https://upload.wikimedia.org/wikipedia/en/4/45/United_Artists_1987.svg License: Fair use Con- tributors: Own Work Original artist: ? • File:United_Artists_Media_Group_logo.png Source: https://upload.wikimedia.org/wikipedia/en/5/5b/United_Artists_Media_Group_ logo.png License: Fair use Contributors: http://mgm.com/images/E090314A-0074UAMG.JPG Original artist: Metro-Goldwyn-Mayer Stu- dios, Inc. 10.3 Content license 11

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