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To the surprise of many, flashy, star-driven Warner Communications merged in 1989 with the [[white-shoe]] publishing company [[Time Inc.]] Though Time and its magazines claimed a higher tone, it was the Warner Bros. film and music units which provided the profits. However, the [[Time Warner]] merger was almost derailed when [[Paramount Communications]] (Formerly [[Gulf+Western]], later sold to [[Viacom]]), launched a $12.2 billion dollar hostile bid for Time Inc., forcing Time to acquire Warner for $14.9 billion dollar cash/stock offer. Paramount responded with a lawsuit filed in [[Delaware]] court to break up the merger. Paramount lost both the case and the appeal and the merger proceeded.
To the surprise of many, flashy, star-driven Warner Communications merged in 1989 with the [[white-shoe]] publishing company [[Time Inc.]] Though Time and its magazines claimed a higher tone, it was the Warner Bros. film and music units which provided the profits. However, the [[Time Warner]] merger was almost derailed when [[Paramount Communications]] (Formerly [[Gulf+Western]], later sold to [[Viacom]]), launched a $12.2 billion dollar hostile bid for Time Inc., forcing Time to acquire Warner for $14.9 billion dollar cash/stock offer. Paramount responded with a lawsuit filed in [[Delaware]] court to break up the merger. Paramount lost both the case and the appeal and the merger proceeded.


In 1997, Time Warner sold the Six Flags unit. The takeover of Time Warner in 2000 by then-high-flying [[AOL]] did not prove a good match, and following the collapse in "dot-com" stocks, the AOL name was banished from the corporate nameplate. Time Warner has the habit of moving film dates within 99 days of their release to make profits, while leaving fans dismayed. They also happened to be a very greedy company.
In 1997, Time Warner sold the Six Flags unit. The takeover of Time Warner in 2000 by then-high-flying [[AOL]] did not prove a good match, and following the collapse in "dot-com" stocks, the AOL name was banished from the corporate nameplate.


=== 1995–present ===
=== 1995–present ===

Revision as of 20:28, 31 August 2008

Warner Bros. Entertainment, Inc.
Company typeSubsidiary of Time Warner
IndustryEntertainment
FoundedHollywood, Los Angeles, California, USA (1918)
FoundersJack Warner
Harry Warner
Albert Warner
Sam Warner
Headquarters
Burbank, California and New York City
,
 United States
Key people
Barry M. Meyer, Chairman and CEO
Alan F. Horn, President and COO
Edward A. Romano EVP and CFO
ProductsMotion pictures, television programs
RevenueIncrease$11.7 billion USD (2007)[1]
Increase$845 million USD (2007)
Websitewb.com
File:WarnerBrosStudios-1920.jpg
Warner Bros. - First National Studios, Burbank, circa 1928.
For the two cartoon characters Yakko and Wakko (known as "The Warner Brothers") featured on the animated series Animaniacs (which was produced by this company), see Yakko, Wakko, and Dot.

Warner Bros. Entertainment, Inc. (or Warner Bros., Warner Bros. Pictures) is one of the world's largest producers of film and television entertainment.

It is a subsidiary of Time Warner, with its headquarters in Burbank, California and New York City. Warner Bros. has several subsidiary companies, including Warner Bros. Studios, Warner Bros. Pictures, Warner Bros. Television, Warner Bros. Animation, Warner Home Video, DC Comics and New Line Cinema. Warner owns half of The CW Television Network.

Founded in 1918 by Polish-Canadian immigrants, Warner Bros. is the third-oldest American movie studio in continuous operation, after Paramount Pictures, founded in 1912 as Famous Players, and Universal Studios, also founded in 1912.

History

1903–1925: Founding

The corporate name honors the four founding Warner brothers, Harry Warner (1881-1958), Albert Warner (1884-1967), Sam Warner (1887-1927) and Jack L. Warner (1892-1978), Polish Jewish brothers who emigrated from Poland to Ontario, Canada. The three elder brothers began in the exhibition business in 1903, having acquired a projector with which they showed films in the mining towns of Pennsylvania and Ohio. They opened their first theatre, the Cascade, in New Castle, Pennsylvania in 1903. (The original theater is still standing, and is being renovated as the centerpiece of the ongoing downtown revitalization in New Castle, hoping to attract tourists.[1]) In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company (the precursor to Warner Bros. Pictures) to distribute films. Within a few years this led to the distribution of pictures across a four-state area. In 1912 Harry Warner hired an auditor named Paul Ashley Chase. By the time of World War I they had begun producing films, and in 1918 the brothers opened the Warner Bros. studio on Sunset Boulevard in Hollywood. Sam and Jack Warner produced the pictures, while Harry and Albert Warner and their auditor and now controller Paul Ashley Chase handled finance and distribution in New York. On April 4, 1923, with help from a loan given to Harry Warner by his banker Motley Flint,[2] they formally incorporated as Warner Bros. Pictures, Inc.

The first important deal for the company was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers from theatrical impresario David Belasco. However, what really put Warner Bros. on the Hollywood map was a dog, Rin Tin Tin,[3] brought from France after World War I by an American soldier.[4] He debuted in the short Where the North Begins.[3] The short was so successful that Jack Warner agreed to sign the dog to star in more short films for a $1,000-per-week salary.[3] Rin Tin Tin became the top star at the studio.[3] Jack Warner nicknamed him "The Mortgage Lifter"[3] and the success boosted Darryl Zanuck's career.[5] Zanuck eventually became a top producer for the studio[6] and between 1928 and 1933 served as Jack Warner's right-hand man and executive producer, with responsibilities including the day-to-day production of films.[7] More success came after Ernst Lubitsch was hired as head director;[5] Harry Rapf left the studio and accepted an offer to work at MGM.[8] Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, and was on the New York Times best list for the year.[5]

Despite the success of Rin Tin Tin and Lubitsch, they were still unable to achieve star power.[9] As a result, Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummell.[9] The film was so successful that Harry Warner agreed to sign Barrymore to a generous long-term contract;[10] like The Marriage Circle, Beau Brummell was named one of the ten best films of the year by the New York Times.[10] By the end of 1924, Warner Bros. was arguably the most successful independent studio in Hollywood,[10] but it still competed with "The Big Three" Studios (First National, Paramount, and MGM).[11] As a result, Harry Warner — while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin — was able to convince the filmmakers to spend $500,000 in newspaper advertising.[12] As a result, Harry saw this as an opportunity to finally be able to establish theaters in big cities like New York and Los Angeles.[12]

As the studio prospered, it gained backing from Wall Street, and in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nation-wide distribution system.[12] In 1925, the Warners also plunged into radio, and established a successful radio station, KFWB, in Los Angeles.[13]

1925–1935: Sound, color, style

File:OnWithTheShow3.jpg
Screenshot from the first all-color all-talking film On with the Show, released by Warner Bros. in 1929.

In 1925, at the urging of Sam Warner, the Warners agreed to expand their operations by adding synchronized sound to their productions.[14] Harry Warner, however, did not want this.[15] By February 1926, the studio suffered a reported net loss of $333,413.[16]

After a long period of refusing to accept Sam's request for sound, Harry Warner now agreed to accept Sam's demands, as long as studio's usage of synchronized sound was for background music purposes only.[14] The Warners then signed a contract with the sound engineer company Western Electric and established Vitaphone.[17] In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan; the film was silent, but it featured a large number of Vitaphones at the beginning. To hype Don Juan's release, Harry Warner also acquired the large Piccadilly Theater in Manhattan, New York and renamed it the Warner Theater.[18]

Don Juan premiered at the Warner Theater in New York on August 6, 1926.[18] Throughout the early history of film distribution, theater owners hired orchestras to attend film showings and provide soundtracks. Through Vitaphone, however, Warner Bros. produced eight Vitaphone shorts (which aired at the beginning of every showing of Don Juan across the country) in 1926, and got many film production companies to question whether or not it was still necessary to hire theater orchestras.[19] While Don Juan was a success at the box office,[20] it did not earn back its production cost[20] and Lubsitch left Warner for MGM.[9] By April 1927, the Big Five studios (First National, Paramount, MGM, Universal, and Producers Distributing) had put the Warner brothers in financial ruin,[21] and Western Electric renewed Warner's Vitaphone contract with terms that allowed other film companies to test sound.[21]

As a result of the financial problems the studio was having, the Warners took the next step and offered to release a feature picture with dialogue,[22] and revolutionized the business. The film they released, The Jazz Singer starring Al Jolson, was a sensation, launching the era of "talking pictures" and banishing silent movies. However, the brothers could not make it to the premiere, as Sam died and the brothers were at his funeral. Jack Warner became sole head of production.[23] Sam's death also had a great effect on Jack's emotional status,[24] as Sam was arguably Jack's inspiration and favorite brother.[25] In the years to come, Jack Warner ran the studio with an iron fist.[24] Firing of studio employees soon became a trademark of his.[26] Among those whom Jack fired were Rin Tin Tin (in 1929) and Douglas Fairbanks Jr. (who had served as First National's top star since the brothers acquired the studio in 1928) in 1933.[26]

Thanks to the success of The Jazz Singer, the studio was suddenly flush with cash. Al Jolson's next film for the company, The Singing Fool was also a success.[27] With the success of the talkie films (The Jazz Singer, Lights of New York, The Singing Fool, and The Terror), Warner Bros. became one of the top studios in Hollywood and the brothers were now able to move out from the Poverty Row section of Hollywood and acquire a big studio in Burbank, California.[28] They were also able to expand studio operations by acquiring the Stanley Corporation, a major theater chain.[29] This gave them a share in rival First National Pictures, of which Stanley owned one-third.[30] In a bidding war with William Fox, Warner bought more First National shares on September 13, 1928;[31][31] Jack Warner also appointed producer Darryl Zanuck as the studio's manager of First National Pictures.[31] In addition to this, Harry Warner was also able to acquire a string of music publishers and form Warner Bros. Music.[31] Despite also failing to purchase Brunswick Records, Harry was still able to purchase a string of radio companies, foreign sound patents, and even a lithograph company;[31] After establishing Warner Bros. Music, Harry Warner appointed his son, Lewis Warner, to serve as the company's head manager.[32]

In 1929, Harry Warner was also able to produce an adaption of a Cole Porter Porter musical titled Fifty Million Frenchmen.[33] Through First National, the studio's profit increased greatly.[34] After the success of the studio's 1929 First National film Noah's Ark, Harry Warner also agreed to make Michael Curtiz a major director at the Burbank studio.[35] Mort Blumenstock, a First National screenwriter, became a top writer at the brothers' New York headquarters.[36]

In the third quarter of 1929, the Warners gained complete control of First National, when Harry purchased the company's remaining one-third share from Fox.[37] The Justice Department agreed to allow the purchase if First National was maintained as a separate company.[38] But when the Great Depression hit, Warner asked for and got permission to merge the two studios; soon afterward Warner Bros. moved to the First National lot in Burbank. Though the companies merged, the Justice Department required Warner to produce and release a few films each year under the First National name until 1938. For thirty years, certain Warner productions were identified (mainly for tax purposes) as 'A Warner Bros. - First National Picture.'

Gold Diggers of Broadway was a huge hit for Warner Bros. in 1929.

Around 1931, Warner Bros. head producer Daryl Zanuck hired screenwriter Wilson Mizner to work as a screenwriter for the studio's films.[39] While at the studio, Mizner had hardly any respect for authority and found it difficult to work with studio boss Jack Warner.[39] Mizner, however, became a valuable asset to the studio.[39] As time went by, Warner became more tolerant of Mizner and helped invest in Mizner's Brown Derby restaurant.[39] On April 3, 1933, Mizner died from a heart attack.[40]

In the latter part of 1929, Jack Warner hired sixty-one year old actor George Arliss to star in Disraeli,[41] which was a surprise success.[41] Arliss won an Oscar for Best Actor and went on to star in nine more movies with the studio.[41] In 1930, Harry acquired more theaters in Atlantic City, despite the beginning of the Great Depression.[42] But in July 1930, the studio's banker, Motley Flint, was murdered by a disgruntled investor in another company.[43]

By 1931, however, the studio began to feel the effects of the Depression as the general public became unable to afford the price for movie tickets.[44] In 1931, the studio reportedly suffered a net loss of $8 million,[44] and suffered an additional $14 million net loss the following year.[44] In 1931, Warner Bros. Music head Lewis Warner died from an infection.[43]

In 1928, the Warner Bros. released Lights of New York, the first all-talking feature. Due to its success, the movie industry converted entirely to sound almost overnight. By the end of 1929, all the major studios were making sound films exclusively. In 1929, National Pictures released their first film with Warner Bros., Noah's Ark.[45] Despite its expensive budget, Noah's Ark was profitable.[46] In 1929, the Warners released On with the Show, the first all-color all-talking feature. This was followed by Gold Diggers of Broadway which was so popular that it played in theatres until 1939. The success of these two color pictures caused a color revolution (just as the first all-talkie had created one for talkies). Warner Bros. released a large number of color films in 1929-1931, including The Show of Shows (1929), Sally (1929), Bright Lights (1930), Golden Dawn (1930), Hold Everything (1930), Song of the Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Under A Texas Moon (1930), The Bride of the Regiment (1930), Viennese Nights (1931), Woman Hungry (1931), Kiss Me Again (1931), Fifty Million Frenchmen (1931) and Manhattan Parade (1932). In addition to these, scores of features were released with Technicolor sequences as well as a numerous variety of short subjects. The majority of these color films were musicals.

By 1931 the country had grown so tired of musicals that the studio was forced to cut the numbers of many of the productions and advertise them as straight comedies. The public had begun to associate musicals with color and thus the movie studios began to abandon its use. Warner Bros. had a contract with Technicolor to produce two more pictures in that process. As a result, the first mysteries in color were produced and released by the studio: Doctor X (1932) and Mystery of the Wax Museum (1933). In the latter part of 1931, Harry Warner rented the Teddington Studios in London, England.[47] The studio focused on making films for the London market,[47] and Irving Asher was appointed as the studio's head producer.[47] In 1934, Harry Warner officially purchased the Teddington Studios.[47]

In February 1933, Warner Bros., however, produced 42nd Street, a very successful musical[48] that saved the company from bankruptcy.[49] In the wake of 42nd Street's success, the studio's produced further musicals that were able to bring the studio profits once again.[50] These new musicals featured Ruby Keeler and Dick Powell as the stars, and were mostly directed by Busby Berkeley.[51] In 1935, the studio's revived musicals suffered a major blow after Berkeley was arrested after killing three people while driving drunk one night.[52] By the end of the year, people got tired of Warner Bros. musicals,[50] and the studio — after the huge profits made by the 1935 film Captain Blood — shifted its focus on producing Errol Flynn swashbucklers[53]

1931–1935: Pre-code realistic period

The studio as seen in the trailer for the film The Petrified Forest (1936).

With the collapse of the market for musicals, Warner Bros., under production head Darryl F. Zanuck, turned to more realistic and gritty storylines, 'torn from the headlines' pictures that some said glorified gangsters; Warner Bros. soon became known as a "gangster studio.[54] The studio's first gangster film Little Caesar was a great success at the box office.[55] and Edward G. Robinson was a star in many of the wave of gangster films the studio produced after that.[56] The studio's next gangster film, The Public Enemy,[57] made James Cagney arguably the studio's new top star,[58] and the Warners were now convinced to make more gangster films.[57]

Another gangster film the studio produced was the critically acclaimed I Am a Fugitive From a Chain Gang, starring Paul Muni.[59] In addition to Cagney and Robinson, Paul Muni was also given a big push as one the studio's top gangster stars[60] after appearing in the successful film,[57] which got audiences to question the legal system in the United States.[61] By January 1933, the film's protagonist Robert Elliot Burns — who was still imprisoned in New Jersey — and a number of different chain gang prisoners nationwide in the United States were able to appeal and were released.[62] In January 1933, Georgia chain gang warden J Harold Hardy — who was also made into a character in the film — sued the studio for displaying "vicious, brutual and false attacks" against him in the film.[63] After appearing in the film The Man Who Played God, Bette Davis became a top star for the studio.[64]

In 1933, relief for the studio came after Franklin Roosevelt became president in 1933 and was able to rebound the economy with the New Deal;[65] because of this economic rebound, box office profits for Warner Bros. existed once again.[65] This same year, however, the studio's longtime head producer Darryl F. Zanuck quit. One reason was that Harry Warner's relationship with Zanuck became strained after Harry was strongly against allowing Zanuck's film Baby Face to step outside the Hays Code boundaries.[66] Also, the studio reduced Zanuck's salary as a result of the losses as a result of the Great Depression,[67] and Harry still refused to raise his salary in the wake of the New Deal's rebound.[68] Zanuck produced his letter of resignation to Jack Warner,[69] and went on to establish his own company[68] In the wake of Zanuck's resignation, Harry Warner agreed to again raise the salary for the studio's employees.[68]

In 1933, Warner was also able to bring newspaper tycoon William Randolph Hearst's Cosmopolitan films into the Warner Bros. fold.[70] Hearst had previously been signed with MGM,[71] but he ended his ties with the company after a dispute with the company's head producer Irving Thalberg over the treatment of Marion Davies;[72] Davies was a longtime mistress of Hearst,[72] and was now struggling to draw box office success.[72] Through his partnership with Hearst, Warner was able to sign Davies to a studio contract.[70] Hearst's company and Davies' films, however, could not increase the studio's profits.[73]

In 1934, the studio lost over $2.5 million[74] of which $500,000 was the result of a fire at the Warner Bros. Burbank studio at the end of 1934, destroying twenty years worth of early Vitagraph, Warner Bros., and First National films.[75] The following year, Hearst's film adaption of William Shakespeare's A Midsummer Night's Dream failed at the box office and the studio's net loss increased.[76] During this time, Warner Bros. President Harry Warner and six other movie studio figures were indicted of conspiracy to violate the Sherman Antitrust Act,[77] through an attempt to gain a monopoly over theaters in the St Louis area.[78] In 1935, Harry was put on trial for this charge.[77] After a mistrial occurred, Harry sold the company's movie theaters, at least for a short time, and the case was never reopened.[79] The year 1935 also saw the studio rebound with a net profit of $674,158.00.[79]

By 1936, contracts of musical and silent stars were not renewed and new talent, tough-talking, working-class types, were hired who more suitably fit in with these sort of pictures. Stars such as Dorothy Mackaill, Bebe Daniels, Frank Fay, Winnie Lightner, Bernice Claire, Alexander Gray, Alice White and Jack Mulhall that had characterized the urban, modern and sophisticated attitude of the 1920s gave way to stars such James Cagney, Joan Blondell, Edward G. Robinson, Warren William and Barbara Stanwyck who would be more acceptable to the common man. The studio was one of the most prolific producers of Pre-Code pictures and had a lot of trouble with the censors once they started clamping down on what they considered indecency (around 1934).[80] As a result, Warner Bros. turned out a number of historical pictures from around 1935 in order to avoid confrontations with the Breen office. In 1936, following the success of The Petrified Forest, Jack Warner also signed Humphrey Bogart to a studio contract.[81]. Warner, however, did not think Bogart was star material,[82] and decided to only cast Bogart in seldom roles as a villain to either a James Cagney or Edward Robinson character in his twenty-eight follow-up films over the next five years.[81].

After Zanuck was succeeded by Hal B. Wallis in 1933,[83] and the Hays code began to be enforced in 1935, the studio was forced to abandon this realistic approach in order to produce more moralistic idealized pictures. The studio naturally turned to historical dramas which would not cause any problems with the censors. Other offerings included melodramas (or 'women's pictures'), swashbucklers, and adaptations of best-sellers, with stars like Bette Davis, Olivia de Havilland, Paul Muni and Errol Flynn. In 1936, Bette Davis, by now arguably the studio's top star,[84] was unhappy with the roles Warner was giving her and fled to England and tried to break out of her contract with Warner.[84] Davis lost the lawsuit and soon returned to America to continue her work for the studio.[85] Although many of the studio's employees had problems with Jack Warner, they considered Albert and Harry Warner fair.[86]

Code Era

This period also saw the disappearance of a large number of actors and actresses who had characterized the realistic Pre-Code era but who were not suited to the new trend into moral and idealized pictures. Warner Bros. remained a top studio in Hollywood since the dawn of talkies, but this changed after 1935 as other studios, notably MGM, quickly overshadowed the prestige and glamour that previously characterized Warner Bros. However, in the late 1930s, Bette Davis became recognized as the studio's top draw, and was even dubbed as "The Fifth Warner Brother."[87]

In 1935, James Cagney sued Jack Warner for breach of contract.[88] Cagney claimed Warner had forced him to star in more films than his contract required.[88] Cagney eventually dropped his lawsuit after Warner gave him a cash settlement.[89] However, Cagney was now fed up with Warner and left the studio to establish an independent film company, Grand National Films, with his brother Bill.[90] The Cagneys, however, were not able to put much money into their productions,[90] and ran out of money after producing their third film.[90] Cagney then agreed to return to Warner Bros., after Jack Warner agreed to sign him a contract that guaranteed Cagney would be treated to his own terms.[90] After the success of Yankee Doodle Dandy at the box office, Cagney again questioned if the studio would meet the salary demanded by his contract,[91] and again left Warner Bros. to form his own film production and distribution company with his brother Bill.[91]

Another employee with whom Warner had troubles was studio producer Bryan Foy.[92] In 1936, Wallis hired Foy as a producer for the studio's low budget B-films.[86] Foy was able to garnish arguably more profits than any other B-film producer at the time.[86] During Foy's time at the studio, however, Warner released him on seven different occasions.[92]

During the year 1936, the studio's film The Story of Louis Pasteur proved to be a success at the box office[93] and Paul Muni, the film's star, won the Oscar for Best Actor in March 1937.[93] The studio's 1937 film The Life of Emile Zola gave the studio its first Best Picture Oscar.[93]

In 1937, the studio hired Midwestern radio announcer and future US President Ronald Reagan to a small contract.[94] Although Reagan was initially a small-time B-film actor,[94] Warner was impressed by his performance in the final scene of the studio's film Knute Rockne, All American,[94] and agreed to pair Reagan with Errol Flynn in the studio's 1940 film Sante Fe Trail.[94] Reagan then returned to staring in B-films for the studio.[94] After his performance in the studio's 1942 film King's Row, Warner decided to make Reagan a top star for the studio and signed him on with a new studio contract tripling his salary.[95]

In the late 1930s, Harry Warner's daughter Doris read a copy of Margaret Mitchell's Gone With the Wind and was interested in making a film adaptation of the book for the studio.[96] Doris then offered the book's author, Margaret Mitchell, $50,000 for the book's screen rights.[96] Jack, however, refused to allow the deal to take place, upon realizing that the film would be an expensive production.[96]

Another studio actor who proved to be a problem for Jack Warner was George Raft.[97] Warner had signed Raft to a studio contract in 1939, hoping he could fill in as a substitute star in the studio's gangster picturs when either Robinson or Cagney were on suspension.[98] Raft had difficulty working with Humphrey Bogart, and refused to co-star in any film in which Bogart had a part.[99] Eventually, Jack Warner agreed to release Raft from his contract.[100] Following Raft's depature, the studio gave Humphrey Bogart the role of Roy Earl in the 1941 film High Sierra.[100] Bogart's role in the film helped establish him as one of the studio's top stars;[101] following High Sierra, Bogart was also given a role in John Huston's successful 1941 remake of the studio's 1931 failure, The Maltese Falcon.[102]

1930: Birth of Warner's cartoons

Bugs Bunny and Daffy Duck are some of the characters that became central to the company's image.

Warner's cartoon unit had its roots in the independent Harman and Ising studio. From 1930 to 1933, Disney alumni Hugh Harman and Rudolf Ising produced a series of musical cartoons for Leon Schlesinger, who sold the shorts to Warner. Harman and Ising introduced their character Bosko in the first Looney Tunes cartoon, Sinkin' in the Bathtub, and created a sister series, Merrie Melodies, in 1931.[103]

Harman and Ising broke away from Schlesinger in 1933 due to a contractual dispute, taking Bosko with them. As a result, Schlesinger started his own studio, Leon Schlesinger Productions, which continued with the Merrie Melodies while starting production on Looney Tunes starring Buddy, a Bosko clone. By the end of the decade, a new Schlesinger production team, including directors Friz Freleng, Tex Avery, Robert Clampett and Chuck Jones was formed. Schlesinger's staff developed a fast-paced, irreverent style that made their cartoons immensely popular world-wide.

In 1936, Avery directing a string of cartoons, staring Porky Pig, which established the character as the studio's first bona fide star.[104] In addition to Porky Pig, Warner Bros. cartoon characters Daffy Duck(who debuted in the 1937 short Porky's Duck Hunt) and Bugs Bunny (who debuted in the 1940 short A Wild Hare) also achieved star power.[105] By 1942, the Schlesinger studio had surpassed Walt Disney Studios as the most successful producer of animated shorts in the United States.[106]

Jack Warner eventually bought Schlesinger's cartoon unit in 1944, and in subsequent decades characters such as Bugs Bunny, Daffy Duck, Tweety Bird, and Porky Pig became central to the company's image. Bugs in particular remains a mascot to Warner Bros.' various divisions and Six Flags (which Time Warner previously owned). The studio's 1947 cartoon Tweetie Pie was a phenomenal success, and the duo, Sylvester & Tweety, were together in all of their future cartoons with star power as a result.[107]

Vivien Leigh as Blanche DuBois in 1951's A Streetcar Named Desire.

World War II

Prior to the United States entering World War II, Harry Warner produced the successful anti-German film The Life of Emile Zola[108] After that, Harry supervised the production of several more anti-German films, including Confessions of a Nazi Spy (1939),[109] The Sea Hawk (which mirrored King Phillip II as an equivalent to Hitler),[110] Sergeant York,[110] and You're In The Army Now.[111] After the United States officially entered World War II after the bombing of Pearl Harbor, Harry Warner decided to focus on producing war films.[112] Also, one-fourth of the studio's employees, including Jack Warner and his son Jack Jr., were drafted.[112]

Among the films the studio made during the war were Casablanca, Now, Voyager, Yankee Doodle Dandy, This Is the Army, and the controversial film Mission to Moscow.[113] At the premieres of Yankee Doodle Dandy (in Los Angeles, New York, and London), audiences for the film purchased $15.6 million in war bonds for the governments of England and the United States.[113] By the middle of 1943, however, it became clear that audiences were tired of war films.[113] Despite the growing pressure to abandon production of war films, Warner continued to produce them, losing money in the process.[113] Eventually, in honor of the studio's contributions to the war cause, the United States Government named a Liberty Ship after the brothers' father, Benjamin Warner, and Harry Warner was given the honor of christening the ship.[113] By the time the war ended, $20 million in war bonds were purchased through the studio,[113] the Red Cross collected 5,200 pints of plasma from studio employees,[113] and 763 of the studio's employees served as in the armed forces, including Harry Warner's son-in-law Milton Sperling.[113]

Following a dispute over ownership of Casablanca's Oscar for Best Picture, head producer Hal B. Wallis broke with Warner and resigned from the studio.[114] After Casablanca made Humphrey Bogart arguably the studio's top star,[115] Bogart found that his relationship with Jack Warner was deteriorating.[115] In 1943, Olivia de Haviland (whom Warner was now loaning to different companies) sued Warner for breach of contract.[116]

De Haviland had refused to accept an offer to portray famed abolitionist Elizabeth Blackwell in an upcoming film for Columbia Pictures,[116] and Warner responded by mailing 150 telegrams to different film production companies, warning them not to hire her for any role.[116] Afterwards, de Haviland discovered that employer contracts in the United States could only serve a duration of seven years; de Haviland had been under contract with the studio since 1935.[117] The courts ruled in de Haviland's favor,[116] and she was now free from her contract and left the studio.[116] Through de Haviland's victory many of the studio's longtime actors now free from their contracts,[116] Harry Warner then decided to terminate the studio's suspension policy.[118]

In 1943, Jack Warner also hired newly-released MGM actress Joan Crawford, who was once a top star for the MGM studio but now found her career fading,[119] to a studio contract.[119] Crawford's first role with the studio was in the 1944 film Hollywood Canteen.[120] Crawford's first starring role at the studio, as the title role in Mildred Pierce, helped her career rebound[120] and earned her an Oscar for Best Actress.[121]

Post–World War II: Changing hands

The record attendance figures of the World War II years made the Warner brothers rich. The gritty Warner image of the 1930s gave way to a glossier look, especially in women's pictures starring Davis, de Havilland and Joan Crawford. The 1940s also saw the rise of Humphrey Bogart from supporting player to major star. In the post-war years, the Warners continued to create new stars, like Lauren Bacall and Doris Day. The studio prospered greatly after the war.[122] By 1946, company payroll reached $600,000 a week[123] and the net profit reached $19.4 million.

One problem for the Warners, however, was Jack Warner's refusal to meet the Screen Actors Guild's salary demands.[124] In September 1946, the employees engaged in a month-long strike.Cite error: A <ref> tag is missing the closing </ref> (see the help page). By the end of 1947, the studio reached a record net profit of $22 million.[125] Unfortunately, the company's net profit decreased 50% the following year.[125]

On January 5, 1948, Warner offered the first color newsreel, covering the Tournament of Roses Parade and the Rose Bowl Game. In 1948, Bette Davis, still the studio's top actress and now fed up with Jack Warner, was a big problem for Harry after she and a number of her fellow colleagues left the studio after completing the film Beyond the Forest.[126]

Warner was a party to the United States v. Paramount Pictures, Inc. anti-trust case of the 1940s. This action, brought by the Justice Department and the Federal Trade Commission, claimed that the five integrated studio-theater chain combinations restrained competition. The Supreme Court heard the case in 1948, and ruled for the government. As a result Warner and four other major studios were forced to separate production from exhibition. In 1949, the studio's net profit was now only $10 million.[125]

By 1949, with the success of television threatening the film industry more and more, Harry Warner decided to shift his focus towards television production.[127] However, the Federal Communications Commission (FCC) would not allow Harry to do so.[127] After an unsuccessful attempt to convince other movie studio bosses to which their focus to television, Harry abandoned his television efforts.[127] In the early 1950s, the threat of television had grown greatly, and in 1953, Jack Warner decided to take a new approach to compete with the rising threat television now represented for the studio.[127] In the wake of United Artist's successful 3-D film Bwana Devil, Jack decided to expand into 3-D films with the studio's 1953 film House of Wax.[128] Unfortunately, despite the success of House of Wax, 3-D films soon lost their appeal among moviegoers.[129]

After the downfall of 3-D films, Harry Warner decided to use CinemaScope in future Warner Bros. films.[130] One of the studio's first CinemaScope films, The High and Mighty, was able to give the studio some profit.[131] In 1954, the studio was finally able engage in the new television medium, by providing ABC with a weekly show, Warner Bros. Presents;[132]; the show was not a success.[133] The studio's next show, Cheyenne, whould be an instant success.[134] The studio then followed up with a series of popular Western dramas, such as Maverick, Bronco, and Colt .45.[134] The success of these series helped to make up for the losses on the film side.[134] As a result, Jack Warner decided to emphasize television series.[135] Within a few years, the studio, accustomed to dealing with actors in a high-handed manner, provoked hostility among emerging TV stars like James Garner, who filed a lawsuit against Warner Bros. over a contract dispute.[136] Jack Warner was angered by the perceived ingratitude of television actors, who evidently showed more independence than film actors, and this deepened his contempt for the new medium.[137]

Early in 1953, the Warner theater holdings were spun off as Stanley Warner Theaters, and were sold to Simon Fabian Enterprises.[138] By 1956, however, the studio was losing money.[139] By the end of 1953, the studio's net profit was a staggering $2.9 million[140] and ranged between $2 and $4 million for the next two years.[141] In February 1956, Jack Warner sold the rights to all of the brother's pre-1949 films to United Artists Television.[141]

In May 1956, the brothers announced they were putting Warner Bros. on the market.[142] Jack, however, secretly organized a syndicate — headed by Boston banker Serge Semenenko — [139] that purchased 90% (800,000 shares) of the company's stock.[139] After the three brothers sold their stock, Jack — through his under-the-table deal with Sememenko — joined Semenenko's syndicate[143] and bought back all his stock, which consisted of 200,000 shares.[143] Shortly after the deal was completed in July,[144] Jack — now the company's largest stockholder — appointed himself as the new company president.[145] By the time Harry and Albert learned of their brother's dealings, it was too late.[144] Shortly after the deal was closed, Jack Warner announced that the company and its subsidiaries would be "directed more vigorously to the acquisition of the most important story properties, talents, and to the production of the finest motion pictures possible."[146]

New owners

Warner Bros. rebounded in the late 1950s, specializing in adaptations of popular plays like The Bad Seed (1956), No Time for Sergeants (1958), and Gypsy (1962). There was also a successful television unit run by William T. Orr, Jack Warner's son-in-law, offering popular series like Maverick (1957–62) and 77 Sunset Strip (1958–64). Already the owner of extensive music-publishing holdings, in 1958 the studio launched Warner Bros. Records.With his health slowly recovering from a car accident he was in while vactioning in France in 1958, Jack returned to the studio and made sure his name was featured in press releases regarding Warner Bros.[147] In each of the first three years of the 1960s, the studio's net profit was only worth a little over $7 million.[147] Warner paid an unprecedented $5.5 million for the film rights to the Broadway musical My Fair Lady in February 1962. The previous owner, CBS director William S. Paley, set terms that included fifty percent of the distributor's gross profits "plus ownership of the negative at the end of the contract."[148] In 1963, the net profit dropped to a dismal $3.7 million.[147] By the mid-1960s, motion picture production was in decline. There were few studio-produced films and many more co-productions (for which Warner provided facilities, money, and distribution), and pickups of independently made pictures.

In 1963, Jack Warner agreed to merger Warner Bros. Music with Frank Sinatra's Reprise Records.[149] Through this partnership, Warner Bros. Records was established.[149] In 1964, upon seeing the profits record companies made from music from Warner Bros., Jack Warner decided to claim ownership of the studio's film soundtracks and focus on making profits through Warner Bros. Records.[150] For its first eighteen months in existence, Warner Bros. Records lost around $2 million.[151] With the success of the studio's 1965 Broadway play The Great Race,[151] as well as its soundtrack,[151] Warner Bros. Records was now a profitable subsidiary for the studio. The studio's 1966 film Who's Afraid Of Virginia Woolf was a huge success at the box office.[152]

In November 1966, Jack gave in to advancing age and the changing times,[153] selling control of the studio and its music business for $32 million to Seven Arts Productions, run by the Canadian investors Elliot and Kenneth Hyman.[154] The company, including the studio, was renamed Warner Bros.-Seven Arts. Jack Warner did, however, remain the studio's President until the summer of 1967, when Camelot failed at the box office and Warner succeeded his position to the studio's longtime publicity director Ben Kalmenson;[155] Warner did, however, remain with the studio as an independent producer and vice-president.[154] With the success of the studio's 1967 film Bonnie and Clyde, Warner Bros was making profits once again.[156]

File:Batmanmovie1.jpg
Michael Keaton as Batman in 1992's Batman Returns.

Two years later the Hymans, now fed up with Jack Warner,[156] accepted a cash-and-stock offer from an odd conglomerate called Kinney National Company for more than $64 million.[156] Kinney was formed through a merger of a parking lot operator and an office cleaning company. It also owned a Hollywood talent agency, Ashley-Famous,[157] and it was Ted Ashley who led Kinney head Steve Ross to the purchase of Warners. Ashley became the new head of the studio, and the name was changed to Warner Bros., Inc. once again. Jack Warner, however, was outraged by the Hymans' sale,[156] and decided to retire from the studio.[156]

Although the moviegoing audience had shrunk, Warner's new management believed in the drawing-power of stars, signing co-production deals with several of the biggest names of the day, among them Paul Newman, Robert Redford, Barbra Streisand, and Clint Eastwood, carrying the studio successfully through the 1970s and 1980s. Warners also made major profits on films built around the characters of Superman and Batman, owned by Warners subsidiary DC Comics.

Abandoning the mundane parking lots and funeral homes, the re-focused Kinney renamed itself in honor of its best-known holding, Warner Communications. Throughout the 1970s and 1980s Warner Communications branched out into other business, such as its acquiring of video game company Atari, Inc in 1976, and later the Six Flags theme parks.

From 1971 until the end of 1987, Warner's international distribution operations were a joint venture with Columbia Pictures, and in some countries, this joint venture also distributed films from other companies (like EMI Films and Cannon Films in the UK). Warner ended the venture in 1988 and joined up with Walt Disney Pictures, this joint venture lasted until 1993, when Disney created Buena Vista International.

To the surprise of many, flashy, star-driven Warner Communications merged in 1989 with the white-shoe publishing company Time Inc. Though Time and its magazines claimed a higher tone, it was the Warner Bros. film and music units which provided the profits. However, the Time Warner merger was almost derailed when Paramount Communications (Formerly Gulf+Western, later sold to Viacom), launched a $12.2 billion dollar hostile bid for Time Inc., forcing Time to acquire Warner for $14.9 billion dollar cash/stock offer. Paramount responded with a lawsuit filed in Delaware court to break up the merger. Paramount lost both the case and the appeal and the merger proceeded.

In 1997, Time Warner sold the Six Flags unit. The takeover of Time Warner in 2000 by then-high-flying AOL did not prove a good match, and following the collapse in "dot-com" stocks, the AOL name was banished from the corporate nameplate.

1995–present

A panoramic view over today's studio premises.

In 1995, Warner and station-owner Tribune Company of Chicago launched The WB Network, finding a niche market in teenagers. The WB's early programming included an abundance of teenage fare like Buffy the Vampire Slayer, Smallville and Dawson's Creek. Two extremely successful family dramas, 7th Heaven and Charmed also helped bring The WB into the spotlight, with Charmed going for eight seasons and being the longest running drama with female leads and 7th Heaven going for eleven seasons and being the longest running family drama and longest running show for The WB. In 2006 Warner and CBS Corporation decided to close The WB and CBS's UPN and jointly launch The CW Television Network.

File:HP Years 1-5 boxset.jpg
Harry Potter films.

In the late 1990s, Warner obtained rights to the Harry Potter novels, and released feature film adaptations of the first in 2001, the second in 2002, the third in June 2004, the fourth in November 2005, and the fifth on July 11, 2007. The sixth was slated for November 2008, but Warner moved it to July 2009 only three months before the movie was supposed to come out, citing the lack of summer blockbusters in 2009 (due to the Writer's Strike) as the reason.[158] The decision was purely financial, and Alan Horn was quoted as saying: "There were no delays. I’ve seen the movie. It is fabulous. We would have been perfectly able to have it out in November.”[159] This resulted in a massive fan backlash. The seventh and final adaptation, to be shown in two parts, has been announced for 2010 and 2011.

Over the years, Warner Bros has had distribution and/or co-production deals with a number of small companies. These include (but are not limited to) Amblin Entertainment, Morgan Creek Productions (now working with Universal Studios), Regency Enterprises (now working with 20th Century Fox), Village Roadshow Pictures, Legendary Pictures, Silver Pictures (which includes Dark Castle Entertainment), The Ladd Company, and The Geffen Film Company.

Warner Bros. played a large part in the discontinuation of the HD DVD format. On January 4, 2008, Warner Bros. announced that they would drop support of HD DVD in favor of Blu-ray Disc.[160] HD DVDs would continue to be released through May 2008 (when their contract with the HD DVD promotion group will expire), but only after Blu-ray and DVD releases. This started a chain of events which resulted in HD DVD development and production being halted by Toshiba on February 16, 2008, ending the format war.

Warner Bros. and National CineMedia have formed a partnership to provide pre-feature entertainment and advertising in movie theaters nationwide.[161]

Warner Bros. celebrated its 85th on June 1, 2008.

Film library

Main article: List of Warner Bros. films

Over the years, a series of mergers and acquisitions have helped Warners (the present-day Time Warner subsidiary) to accumulate a diverse collection of movies, cartoons, and television programs.

In the aftermath of the 1948 anti-trust suit, uncertain times led Warners in 1956 to sell its 650 of its pre-1948 films and cartoons to a holding company which became Associated Artists Productions (AAP). Two years later, AAP sold its holdings to United Artists (UA), which held them until 1981, when MGM bought UA.

Three years later, Turner Broadcasting System, having failed to buy MGM, settled for ownership of the MGM/UA library. This included almost all pre-1986 MGM features (with a few exceptions as noted below), as well as the pre-1948 Warner material. Ownership of the classic Warner films came full-circle when Time Warner bought Turner, although technically they are held by Turner Entertainment while Warner is responsible for sales and distribution.

These acquisitions, among others, mean that Warner owns almost every film they have made since its inception, excepting certain films Warner merely distributed. Much of the United States Pictures catalog (with certain exceptions, like Battle of the Bulge, which WB still owns) is now owned by Republic/Paramount Pictures (Republic/Paramount also now owns Cujo, produced by a division of Taft Broadcasting, with video licensee Lions Gate Entertainment handling USA DVD rights).

Seven years after its 1964 release, rights to My Fair Lady reverted to CBS, which had backed the theatrical production, although ironically Warner now owns the DVD rights under license from CBS (Interestingly, 35 years after that, CBS and Warner Bros. formed The CW Television Network, as mentioned above).

In addition Warner (via Turner) has acquired most of the Hanna-Barbera Productions library (including the 1982 film Heidi's Song), alongside most of the pre-1990 Ruby-Spears Productions library. This does not including shows based on other licensed properties (ex., the animated versions of Happy Days, Mork and Mindy and Laverne and Shirley are owned by CBS Paramount Television).

Previously owned by Hit Entertainment/Lyric Studios, and Playhouse Disney, since 2007, Warner Bros. now owns the rights to produce The Wiggles with the first production "Getting Strong" DVD and "Pop Goes the Wiggles" and future DVD's

In 2007, Warner Bros. added the Peanuts/Charlie Brown library to its collection (this includes all the television specials and series outside of the theatrical library, which continues to be owned by CBS and Paramount through United Feature Syndicate, licensor and owner of the Peanuts material).

Peculiarities resulting from building this library

A result of WB building up its library is that they own many works of certain people. For example, they own seven of the films directed by Stanley Kubrick (including five released by WB themselves and two originally from MGM), most of the films that Joan Crawford starred in (all her MGM and WB films), and all but four theatrical cartoons directed by Tex Avery (those four are owned by Universal), in addition to his final creation, The Kwicky Koala Show.

Material owned by WB

In addition to a majority of its own post-1948 film library, WB owns:

Exceptions

WB

Turner

The WB Archives

The University of Southern California Warner Bros. Archives is the largest single studio collection in the world. Donated in 1977 to USC's School of Cinema-Television by Warner Communications, the WBA houses departmental records that detail Warner Bros. activities from the studio's first major feature, My Four Years in Germany (1918), to its sale to Seven Arts in 1968.

UA donated pre-1949 Warner Bros. nitrates to the Library of Congress and post-1951 negatives to UCLA's film library. Most of the company's legal files, scripts and production materials were donated to the University of Wisconsin-Madison.

Warner Bros. Franchises

See also

Notes

  1. ^ "Time Warner Inc. Reports Results for 2007 Full Year and Fourth Quarter".
  2. ^ Sperling, Millner, and Warner (1998), p. 77.
  3. ^ a b c d e Sperling, Millner, and Warner (1998), p. 81.
  4. ^ Sperling, Millner, and Warner (1998), p. 80.
  5. ^ a b c Sperling, Millner, and Warner (1998), p. 82.
  6. ^ Sperling, Millner, and Warner (1998), p. 101.
  7. ^ Behlmer (1985), p. xii.
  8. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 46, 47. ISBN 0-070-64259-1.
  9. ^ a b c Sperling, Millner, and Warner (1998), p. 83.
  10. ^ a b c Sperling, Millner, and Warner (1998), p. 84.
  11. ^ ""Theatre Owners Open War on Hays"". New York Times. May 12, 1925. p. 14.
  12. ^ a b c Sperling, Millner, and Warner (1998), p. 86.
  13. ^ Sperling, Millner, and Warner (1998), p. 88.
  14. ^ a b Sperling, Millner, and Warner (1998), p. 95.
  15. ^ Sperling, Millner, and Warner (1998), p. 94.
  16. ^ Freedland, Michael. The Warner Brothers. St. Martin's Press. p. 119. ISBN 0-312-85620-2.
  17. ^ Sperling, Millner, and Warner (1998), p. 96.
  18. ^ a b Thomas (1990), p. 56.
  19. ^ Thomas (1990), p. 57.
  20. ^ a b Sperling, Millner, and Warner (1998), p. 113.
  21. ^ a b Thomas (1990), p. 59.
  22. ^ Sperling, Millner, and Warner (1998), p. 115.
  23. ^ Warner and Jennings (1964), pp. 180–181.
  24. ^ a b "Jews in Hollywood". Jewishmag.com. Retrieved 2007-12-30.
  25. ^ Thomas (1990), p. 62.
  26. ^ a b Thomas (1990), p. 100-101.
  27. ^ Sperling, Millner, and Warner (1998), p. 141.
  28. ^ Warner-Sperling, Cass. Hollywood Be Thy Name: The Warner Brothers Story. University Press of Kentucky. pp. 142–145. ISBN 0-813-10958-2. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  29. ^ Sperling, Millner, and Warner (1998), p. 144.
  30. ^ Thomas (1990), p. 65.
  31. ^ a b c d e Sperling, Millner, and Warner (1998), p. 147.
  32. ^ Thomas (1990), p. 66.
  33. ^ Sperling, Millner, and Warner (1998), p. 148.
  34. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 4. ISBN 0-070-64259-1.
  35. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 127. ISBN 0-070-64259-1.
  36. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 208. ISBN 0-070-64259-1.
  37. ^ Sperling, Millner, and Warner (1998), p. 147.
  38. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 67. ISBN 0-070-64259-1.
  39. ^ a b c d Thomas (1990), pp. 89–92.
  40. ^ Thomas (1990), pp. 93.
  41. ^ a b c Thomas (1990), p. 77.
  42. ^ Monday (Monday, Jun. 09, 1930). "Warner Week - TIME". Retrieved 2008-07-09. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  43. ^ a b Thomas (1990), pp. 72. Cite error: The named reference "thomas72" was defined multiple times with different content (see the help page).
  44. ^ a b c Sperling, Millner, and Warner (1998), p. 160.
  45. ^ Sperling, Millner, and Warner (1998), p. 151.
  46. ^ Sperling, Millner, and Warner (1998), p. 150.
  47. ^ a b c d Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 110. ISBN 0-070-64259-1.
  48. ^ Sperling, Millner, and Warner (1998), p. 190.
  49. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 85. ISBN 0-070-64259-1.
  50. ^ a b Sperling, Millner, and Warner (1998), p. 194.
  51. ^ Sperling, Millner, and Warner (1998), p. 192.
  52. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 86. ISBN 0-070-64259-1.
  53. ^ Sperling, Millner, and Warner (1998), p. 195.
  54. ^ "CNN.com - The mobster and the movies - Aug 24, 2004". Retrieved 2008-07-09.
  55. ^ Sperling, Millner, and Warner (1998), p. 184.
  56. ^ Thomas (1990), pp. 77–79.
  57. ^ a b c Sperling, Millner, and Warner (1998), p. 185
  58. ^ Thomas (1990), pp. 81.
  59. ^ Thomas (1990), pp. 83.
  60. ^ Sperling, Millner, and Warner (1998), p. 186.
  61. ^ Monday (Monday, Dec. 26, 1932). "Fugitive - TIME". Retrieved 2008-07-09. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  62. ^ Monday (Monday, Jan. 02, 1933). "Fugitive Free - TIME". Retrieved 2008-07-09. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  63. ^ Monday (Monday, Jan. 16, 1933). "TIME". Retrieved 2008-07-09. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  64. ^ Thomas (1990), pp. 82–83.
  65. ^ a b Sperling, Millner, and Warner (1998), p. 161.
  66. ^ "Musicomedies of the Week". Time. 1933-07-03. p. 2. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  67. ^ Warner-Sperling, Cass. Hollywood Be Thy Name: The Warner Brothers Story. University Press of Kentucky. pp. 182, 183. ISBN 0-813-10958-2. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  68. ^ a b c "New Deal in Hollywood". Time. 1933-05-01. p. 2. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  69. ^ Behlmer (1985), p. 12.
  70. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 96. ISBN 0-070-64259-1.
  71. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 95. ISBN 0-070-64259-1.
  72. ^ a b c Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 95, 96. ISBN 0-070-64259-1.
  73. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 95. ISBN 0-070-64259-1.
  74. ^ Sperling, Millner, and Warner (1998), p. 209
  75. ^ Sperling, Millner, and Warner (1998), p. 209
  76. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 99. ISBN 0-070-64259-1.
  77. ^ a b Sperling, Millner, and Warner (1998), p. 209
  78. ^ Monday (Monday, Jan. 21, 1935). "St. Louis Suit - TIME". Retrieved 2008-07-09. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  79. ^ a b Sperling, Millner, and Warner (1998), p. 211
  80. ^ Sperling, Millner, and Warner (1998), p. 188-189.
  81. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 109. ISBN 0-070-64259-1.
  82. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 109, 110. ISBN 0-070-64259-1.
  83. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 88. ISBN 0-070-64259-1.
  84. ^ a b Sperling, Millner, and Warner (1998), p. 219-221.
  85. ^ Sperling, Millner, and Warner (1998), p. 221.
  86. ^ a b c Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 115. ISBN 0-070-64259-1.
  87. ^ WatchMojo.com - Daily Video Clips - Bette Davis
  88. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 104 106. ISBN 0-070-64259-1.
  89. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 105. ISBN 0-070-64259-1.
  90. ^ a b c d Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 106. ISBN 0-070-64259-1.
  91. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 144. ISBN 0-070-64259-1.
  92. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 116. ISBN 0-070-64259-1.
  93. ^ a b c Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 114. ISBN 0-070-64259-1.
  94. ^ a b c d e Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 117. ISBN 0-070-64259-1.
  95. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 117 118. ISBN 0-070-64259-1.
  96. ^ a b c Warner-Sperling, Cass. Hollywood Be Thy Name: The Warner Brothers Story. University Press of Kentucky. p. 235. ISBN 0-813-10958-2. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  97. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 123 125. ISBN 0-070-64259-1.
  98. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 123 125. ISBN 0-070-64259-1.
  99. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 124. ISBN 0-070-64259-1.
  100. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 125. ISBN 0-070-64259-1.
  101. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 125 126. ISBN 0-070-64259-1.
  102. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 126 127. ISBN 0-070-64259-1.
  103. ^ Sperling, Millner, and Warner (1998), p. 187.
  104. ^ Barrier, Michael (1999). Pg. 329-333.
  105. ^ "Porky Pig and Small Dog  - Looney Tunes All Hebrew - 800-830-8660". Retrieved 2008-07-09.
  106. ^ "Warner Bros. Studio biography". AnimationUSA.com. Retrieved June 17, 2007.
  107. ^ Sperling, Millner, and Warner (1998), p. 187-188.
  108. ^ Sperling, Millner, and Warner (1998), p. 225
  109. ^ Sperling, Millner, and Warner (1998), p. 233
  110. ^ a b Sperling, Millner, and Warner (1998), p. 247 Cite error: The named reference "GRTWBiokj1y2rt)" was defined multiple times with different content (see the help page).
  111. ^ Sperling, Millner, and Warner (1998), p. 247
  112. ^ a b Sperling, Millner, and Warner (1998), p. 240
  113. ^ a b c d e f g h Warner-Sperling, Cass. Hollywood Be Thy Name: The Warner Brothers Story. University Press of Kentucky. pp. 247–255. ISBN 0-813-10958-2. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  114. ^ Thomas (1990), p. 141-143.
  115. ^ a b Thomas (1990), p. 144.
  116. ^ a b c d e f Thomas (1990), p. 145.
  117. ^ Thomas (1990), p. 98.
  118. ^ Thomas (1990), p. 148.
  119. ^ a b Thomas (1990), p. 150.
  120. ^ a b Thomas (1990), p. 151.
  121. ^ Thomas (1990), p. 152.
  122. ^ Sperling, Millner, and Warner (1998), p. 258-279
  123. ^ Warner-Sperling, Cass. Hollywood Be Thy Name: The Warner Brothers Story. University Press of Kentucky. pp. 258–279. ISBN 0-813-10958-2. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  124. ^ Thomas (1990), p. 163.
  125. ^ a b c Sperling, Millner, and Warner (1998), p. 279
  126. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. pp. 175, 176. ISBN 0-070-64259-1.
  127. ^ a b c d Sperling, Millner, and Warner (1998), p. 286 Cite error: The named reference "268lk" was defined multiple times with different content (see the help page).
  128. ^ Sperling, Millner, and Warner (1998), p. 287.
  129. ^ Thomas (1990), p. 191.
  130. ^ Sperling, Millner, and Warner (1998), p. 287-288.
  131. ^ Sperling, Millner, and Warner (1998), p. 288.
  132. ^ Thomas (1990), p. 192.
  133. ^ Thomas (1990), p. 193.
  134. ^ a b c Thomas (1990), p. 194.
  135. ^ Thomas (1990), p. 195.
  136. ^ Thomas (1990), pp. 196–198.
  137. ^ Thomas (1990), p. 199.
  138. ^ Monday (Monday, May. 21, 1956). "Boston to Hollywood - TIME". Retrieved 2008-07-09. {{cite web}}: Check date values in: |date= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  139. ^ a b c Sperling, Millner, and Warner (1998), p. 303.
  140. ^ Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 190. ISBN 0-070-64259-1.
  141. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 225. ISBN 0-070-64259-1.
  142. ^ "Boston to Hollywood". Time. 1956-05-21. p. 2. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  143. ^ a b Sperling, Millner, and Warner (1998), p. 308.
  144. ^ a b Thomas, Bob (1990). Clown Prince of Hollywood: The Antic Life and Times of Jack L. Warner. McGraw-Hill. p. 226. ISBN 0-070-64259-1. Cite error: The named reference "thomas226" was defined multiple times with different content (see the help page).
  145. ^ Sperling, Millner, and Warner (1998), p. 306.
  146. ^ The United Press (July 12, 1956). "2 Warners Sell Most of Stock in Film Firm: Harry and Albert Dispose of Shares to Banker; Jack to Be President". The Youngstown Vindicator. p. 22. {{cite news}}: Check date values in: |date= (help)
  147. ^ a b c Sperling, Millner, and Warner (1998), Hollywood Be Thy Name, Prima Publishing, ISN:559858346 p. 325.
  148. ^ Thomas (1990), p. 259.
  149. ^ a b Thomas (1990), p. 255.
  150. ^ Thomas (1990), p. 264-265.
  151. ^ a b c Thomas (1990), p. 265.
  152. ^ Thomas (1990), p. 278.
  153. ^ Thomas (1990), p. 280.
  154. ^ a b Thomas (1990), p. 279.
  155. ^ Thomas (1990), p. 279-280.
  156. ^ a b c d e Thomas (1990), p. 288.
  157. ^ William Poundstone, Fortune's Formula
  158. ^ http://www.timewarner.com/corp/newsroom/pr/0,20812,1833086,00.html
  159. ^ http://www.msnbc.msn.com/id/26205933/
  160. ^ Warner Bros Goes Blu Ray Exclusive Console Watcher
  161. ^ Warner Bros. and National CineMedia Form Marketing Partnership, Yahoo!, January 14, 2008

References

  • Mordden, Ethan. The Hollywood Studios. New York: Simon & Schuster, 1988.
  • Schatz, Robert. The Genius of the System: Hollywood Filmmaking in the Studio Era. New York: Pantheon, 1988.
  • Sklar, Robert. Movie-Made America. New York: Vintage, 1994.
  • Warner, Jack L. My First Hundred Years in Hollywood.
  • Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. New York: Crown Publishers, 1988.
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