Though his romantic adventures as the womanizer du-jour for over four decades occasionally overshadowed his creative endeavors, star Warren Beatty was an actor and Academy Award-winning director and w...
|$ (Dollars)||Actor||Joe Collins||1|
|Mickey One||Actor||Mickey One||1|
|The Parallax View||Actor||Joseph Frady||1|
|Town & Country||Actor||Porter Stoddard||1|
|Promise Her Anything||Actor||Harley Rummel||1|
|McCabe & Mrs. Miller||Actor||John McCabe||1|
|AFI Life Achievement Award: A Tribute to Warren Beatty (2006-2007)||Actor||Honoree||2006||1|
|Bonnie and Clyde||Actor||Clyde Barrow||1|
|Love Affair||Actor||Mike Gambril||1|
|The Lives of Lillian Hellman (1997-1998)||Actor||Interviewee||1997||1|
|Heaven Can Wait||Actor||Joe Pendleton||1|
|Dick Tracy||Actor||Dick Tracy||1|
|The American Film Institute Salute to Jack Nicholson (1992-1993)||Actor||Master of Ceremonies||1992||1|
|The Daily Show and the Colbert Report Present Indecision 2006 Midterm Midtacular (2005-2006)||Actor||n/a||2005||1|
|The Barbara Walters Special (03/26/90) (1988-1989)||Actor||n/a||1988||1|
|The Only Game in Town||Actor||Joe Grady||1|
|All Fall Down||Actor||Berry-Berry Willart||1|
|The Roman Spring of Mrs. Stone||Actor||Paolo DiLeo||1|
|Splendor in the Grass||Actor||Bud Stamper||1|
|The First 100 Years: A Celebration of American Movies (1994-1995)||Actor||n/a||1994||1|
|Warren Beatty (1997-1998)||Actor||Interviewee||1997||1|
|7th Annual Screen Actors Guild Awards (1999-2000)||Actor||Presenter||1999||1|
|TV Land Presents: The AFI Life Achievement Award Honoring Shirley MacLaine (2010-2011)||Actor||n/a||2010||1|
|AFI Life Achievement Award: A Tribute to Mike Nichols (2008-2009)||Actor||Presenter||2008||1|
|Warren Beatty Talking With David Frost (1990-1991)||Actor||Guest||1990||1|
|American Film Institute Salute to Dustin Hoffman (1997-1998)||Actor||n/a||1997||1|
|AFI Life Achievement Award: A Tribute to Michael Douglas (2007-2008)||Actor||n/a||2007||1|
|The 27th Annual Kennedy Center Honors: A Celebration of the Performing Arts (2003-2004)||Actor||Honoree||2003||1|
|One Bright Shining Moment||Actor||Himself||1|
|Joe Head Goes Hollywood||Actor||Himself||1|
|The Late Show With David Letterman Video Special (1993-1994)||Actor||n/a||1993||1|
|The American Film Institute Salute to Steven Spielberg (1993-1994)||Actor||n/a||1993||1|
|50 Years of Action!||Actor||Himself||1|
|The 7th Annual Blockbuster Entertainment Awards (1999-2000)||Actor||Honoree||1999||1|
|The AFI's 100 Years... 100 Stars (1997-1998)||Actor||n/a||1997||1|
|Michael Landon: Memories With Laughter and Love (1990-1991)||Actor||n/a||1990||1|
|The Kennedy Center Honors: A Celebration of the Performing Arts (2000-2001)||Actor||(Jack Nicholson)||2000||1|
|An American Reunion: The 52nd Presidential Inaugural Gala (1991-1992)||Actor||n/a||1991||1|
|The 72nd Annual Academy Awards (1998-1999)||Actor||n/a||1998||1|
|The 70th Annual Academy Awards (1996-1997)||Actor||Presenter||1996||1|
|Victory & Valor: A Special Olympics All-Star Celebration (1989-1990)||Actor||n/a||1989||1|
|The 64th Annual Golden Globe Awards (2005-2006)||Actor||Honoree(Cecil B. DeMille Award)||2005||1|
|Truth Or Dare||Actor||Himself||1|
|49th Annual Golden Globe Awards (1990-1991)||Actor||n/a||1990||1|
|The Book That Wrote Itself||Actor||(cameo appearance)||1|
|Dobie Gillis (1958-1962)||Actor||(early format 1)||1958||1|
|George Stevens: A Filmmaker's Journey||Actor||Himself||1|
|The 62nd Annual Academy Awards (1988-1989)||Actor||Presenter||1988||1|
|The 68th Annual Golden Globe Awards (2009-2010)||Presenter||n/a||2009||1000033|
|The 16th Annual Screen Actors Guild Awards (2008-2009)||Actor||Presenter||2008||1|
|Heaven Can Wait||Director||n/a||2|
|Bonnie and Clyde||Producer||n/a||3|
|The Pick-Up Artist||Executive Producer||n/a||3000005|
|Heaven Can Wait||Producer||n/a||3|
|Heaven Can Wait||Screenplay||n/a||4000006|
|Down to Earth||From Story||from original screenplay("Heaven Can Wait")||4000014|
|Ishtar||Music||("My Lips on Fire" "Have-Not Blues")||8000012|
|Ishtar||Song||("Half Hour Song")||8000024|
|Ishtar||Song Performer||("Half Hour Song" "Sitting on the Edge of My Life" "Harem Girl" "My Lips on Fire" "Have-Not Blues" "Wardrobe of Love")||8000031|
|AFI's 100 Years..100 Heroes and Villains (2001-2002)||Film Clips||n/a||2001||26000005|
|Broadway debut in William Inge's "A Loss of Roses"; garnered a best actor Tony Award nomination; was his only appearance on the Broadway stage|
|First film as producer, "Bonnie and Clyde"; also co-starred with Faye Dunaway; film was nominated for 10 Academy Awards, including Best Picture and Best Actor|
|Appeared in then off-screen love Madonna's documentary, "Madonna: Truth or Dare"|
|Raised in Virginia|
|Earned first Academy Award as Best Director for his epic love story "Reds"; also produced, co-wrote and starred as John Reed opposite Diane Keaton's Louise Bryant; film received 12 Oscar nominations, including Best Picture and Best Screenplay|
|Made film debut under Elia Kazan's direction and opposite Natalie Wood in "Splendor in the Grass"; received a Golden Globe nomination for Best Actor|
|First film directing (co-directed with Buck Henry), "Heaven Can Wait"; also co-wrote (with Elaine May), produced and co-starred; third collaboration with Julie Christie; film nominated for 10 Academy Awards, including Best Picture, Best Actor, Best Direct|
|Cast opposite Angela Lansbury and Eva Marie Saint in John Frankenheimer's "All Fall Down"|
|Appeared in last film to date, "Town and Country"; re-teamed Beatty with Diane Keaton and Goldie Hawn|
|First film as co-writer (with Robert Towne), "Shampoo"; also produced and acted; re-teamed Beatty with Hawn and Christie; garnered an Academy Award nomination for Best Screenplay|
|First film with Goldie Hawn, the caper film "$"|
|TV series debut, "The Many Loves of Dobie Gillis" (CBS); pulled after three episodes by his agent|
|Directed and starred in the political satire "Bullworth"; also co-wrote and co-produced; garnered a Best Screenplay Academy Award nomination|
|Co-starred with off-screen companion Julie Christie in Robert Altman's "McCabe & Mrs. Miller"|
|Returned to films after a six year hiatus to co-star with Dustin Hoffman in the critically panned, "Ishtar"; regarded as one of the biggest box office bombs in film history|
|Starred (also produced) in Alan J. Pakula's political thriller "The Parallax View"|
|Portrayed real-life gangster Bugsy Siegel in the critically acclaimed biopic "Bugsy"; co-starred with future wife Annette Bening; also produced; earned a Best Actor Oscar nomination|
|Produced, directed and played the title role as the comic strip character "Dick Tracy"; film received seven Academy Award nominations|
|Teamed with Jack Nicholson and Stockard Channing in Mike Nichols' "The Fortune"|
|Starred opposite off-screen love, Annette Bening in the remake of "Love Affair"; also co-write and produced|
Born Henry Warren Beatty in Richmond, VA on March 30, 1937, his career choice may have been set for him at an early age. Beatty's mother Kathlyn was a drama teacher, and his older sister, Shirley (who later adopted her middle name, MacLean, for her stage name, Shirley MacLaine) had found success on Broadway in "The Pajama Game." Beatty made a name for himself on the high school football field, but his sister's fame inspired him to try his hand at acting as well. After a stint as a stagehand at the National Theater in Washington, D.C., Beatty rejected numerous football scholarships to study drama at Northwestern University. His tenure there would last only a year; Beatty dropped out after his freshman year to study with Stella Adler at the Actors Conservatory in New York City. Beatty's incredible good looks and build made him a natural for television casting agents looking for virile young leading men, so it was no surprise he began marking time on numerous live television dramas in the late 1950s, including "Studio One" (CBS, 1948-1958) and "Playhouse 90" (CBS, 1956-1961). He made brief inroad onto a network series with the popular teen comedy "The Many Loves of Dobie Gillis" (CBS, 1959-1963), for which he played wealthy Milton Armitage, contender for the hand of Dobie's dream girl Thalia Menninger (Tuesday Weld). Beatty found the show insipid and departed for the legitimate theater. The move proved a difficult one, but Beatty logged time in some 40-plus productions before making his mark on Broadway in William Inge's "A Loss of Roses," for which he received a Tony nomination in 1960 - proving MacLaine was no longer the sole star of the family.
Beatty's film debut came the following year in the racy-for-its-time, "Splendor in the Grass" (1961), directed by Elia Kazan and starring Natalie Wood. The film was a success, netting Beatty a Golden Globe nomination for his performance, but critics were not quite sold on his abilities, citing his pretty-boy looks as a distraction. An affair with his co-star, Wood - who was then one half of America's sweethearts along with husband Robert Wagner - did little to endear him to fans who now considered him a homewrecker. Unfortunately, Beatty's next roles seemed to be geared more towards his appearance than his acting talent. He was a young Italian lover who romances lonely widow Vivien Leigh in the disappointing film version of Tennessee Williams' novella "The Roman Spring of Mrs. Stone" (1961); the caddish older brother of a wealthy family in "All Fall Down" (1962) for "Playhouse 90" director John Frankenheimer; and a psychiatrist who is seduced by his patient (Jean Seberg) in Robert Rossen's controversial "Lilith" (1964). One role which failed to come to fruition was that of John F. Kennedy in the film version of "PT-109" (1963), about JFK's experiences in World War II. Kennedy apparently wanted Beatty to portray him in the film after hearing Elia Kazan recommend the actor for the part. However, Beatty rejected the role due to the film's weak script. However, he and Kennedy remained friendly until the President's assassination in November 1963.
Beatty tried to break this streak of dull romantic heroes and heels by starring as a nightclub comic on the run from mobsters in Arthur Penn's semi-experimental drama "Mickey One" (1965). The picture found few champions in the press for its grotesque characters and downbeat tone, but did signal Beatty's interest in tackling offbeat projects. He returned to Hollywood in the lightweight comedy "Promise Her Anything" (1965), with a script by William Peter Blatty, but the picture earned more headlines for the romance between Beatty and his married co-star Leslie Caron. Having moved on from and broken Wood's heart - which reportedly caused the fragile actress to attempt suicide - Beatty was now being named as a co-defendant in Caron's subsequent divorce from director Peter Hall and was even forced to pay court costs. The latter scandal firmly established Beatty's reputation as one of Hollywood's leading Lotharios, a label he reinforced by squiring such movieland beauties as Ann-Margret, Joan Collins, Catherine Deneuve and countless others during the 1960s.
Beatty was slated to play the womanizing hero of Woody Allen's comedy "What's New, Pussycat?" (1967) - reportedly, Beatty also came up with the title, which was his standard greeting to his female companions - but pre-production conflicts with Allen and producer Charles K. Feldman forced him to abandon the film. Frustrated that his career seemed mired in the same one-dimensional role, he decided to produce his next movie and oversee every aspect of its production from start to finish. He reunited with "Mickey One" director Arthur Penn and tapped a newcomer, Robert Benton, to write a script based loosely on the short life and career of Depression Era gangsters Bonnie Parker and Clyde Barrow. Beatty himself would play Barrow, while Faye Dunaway was tapped to play Bonnie, with Gene Hackman, Estelle Parsons, Michael J. Pollard, and a young Gene Wilder filling out the remainder of the cast. The result - 1967's "Bonnie and Clyde" - hit Hollywood like a bombshell. Heavily influenced by the French New Wave, the picture attempted to reinterpret the romantic Hollywood notion of the gangster film and comment on the current wave of political and social unrest in the country by upping the film's violence to disturbing levels. In fact, the finale, in which Bonnie and Clyde are killed by lawmen, showed the actors cut to pieces in a hail of bullets. Mainstream critics were appalled, but audiences turned out in droves, and the film grossed some $70 million for Beatty who earned a windfall as producer due to Warner Bros.' lack of faith in the film. Rather than paying him a standard fee, he was given 40 percent of the gross - not the last time the savvy and uncompromising Beatty would beat studios at their own game. The actor was also nominated for an Academy Award along with Penn and most of the cast. "Bonnie and Clyde" had also helped usher in the "New Hollywood" period of the early Seventies - cinema's second "Golden Age" - in which filmmakers like Martin Scorsese, Steven Spielberg and Francis Ford Coppola were afforded a nearly unlimited degree of creative freedom with their films.
Beatty's new higher profile afforded him a better range of material, which in turn allowed him to pursue more personal projects. Though he turned down leads in "The Godfather" (1972), "The Sting" (1973), and "The Great Gatsby" (1974) to serve as an advisor to George McGovern's presidential campaign, he did star as an enterprising brothel owner who runs afoul of big business in Robert Altman's exceptional anti-Western, "McCabe and Mrs. Miller" (1971); a bank employee who partners with a hooker (Goldie Hawn) to rob a large European bank in "$" (1971); and a reporter caught up in a conspiracy surrounding the murder of a senator in Alan J. Pakula's superior thriller "The Parallax View" (1973). Beatty then partnered with director Hal Ashby and writer Robert Towne to produce and star in "Shampoo" (1975), a wry and bitter look at the death of Sixties idealism and the rise of the self-centered Seventies as seen through the jaded eyes of a successful hairstylist (Beatty). The picture was a considerable success, and netted several Academy Award nominations. Beatty had carried on relationships with both of his "Shampoo" co-stars, Goldie Hawn and Julie Christie, as well as continued his womanizing streak by dating countless other celebrities during the 1970s, including Jane Fonda, Bianca Jagger and Carly Simon; the latter was rumored to have penned her hit single "You're So Vain" about him, but it was Christie who proved to be one of his greatest loves. The couple had come together while Christie was shooting "Petulia" in 1968, and remained a twosome until after the release of "Shampoo" in 1976. She ended the relationship over differing ideas for their future, but remained close to him over the subsequent decades.
Beatty's next blockbuster was a remake of "Heaven Can Wait" (1978), with Beatty as a former football player accidentally spirited away to heaven by an overeager angel (Buck Henry) and then deposited in the body of a deceased millionaire. The picture marked Beatty's directorial debut (though he split the duties with Henry) and he also co-wrote the script with Elaine May. "Heaven Can Wait" was one of the biggest hits of the year, and earned a Best Picture nomination, with Beatty himself receiving nods for Best Director and Best Actor. Its success allowed Beatty to pursue his next project - an epic film version of author John Reed's coverage of the Russian Revolution in 1917. The film "Reds" (1981) took several years to complete, but the final product - which starred Beatty as Reed, Diane Keaton as his lover Louise Bryant, Maureen Stapleton as Emma Goldman, and Jack Nicholson as playwright Eugene O'Neill, was a critical success, and solidified Beatty's status as a committed and adventurous filmmaker. For his efforts, he won the Best Director Oscar and was also nominated for Best Actor and Best Original Script. Beatty's remarkable run of the Seventies left him in the company of Orson Welles as one of the only filmmakers to earn Academy Award nominations for acting, writing, producing and directing in the same year. Unlike Welles, however, Beatty did it twice. On top of that, he began dating another great love - not surprisingly, his co-star, Diane Keaton.
Beatty knew that a picture of the scale and scope of "Reds" would be a hard act to follow, and he remained inactive for much of the 1980s, though he reportedly turned down the role of Gordon Gekko in Oliver Stone's "Wall Street" (1987). When he did return to filmmaking, the results were unexpectedly disastrous. "Ishtar" (1987), directed by Elaine May and starring Beatty (who co-produced) and Dustin Hoffman as untalented lounge pianists who become involved in a Middle Eastern coup d'etat, was a staggering expensive and unfunny flop. Beatty attempted to save face by defending the picture and May to the legions of critics and pundits who lined up to savage it (and him), but the film's legacy - a synonym for box office failure - could not be dispelled.
Undaunted, Beatty launched into another high-profile project for his next picture - the long-gestating film version of the comic strip "Dick Tracy" (1990). Beatty corralled an impressive collection of stars to fill out the gallery of grotesques created by Chester Gould, including Al Pacino, James Caan, Dustin Hoffman, and Henry Silva, as well as netted pop music superstar Madonna to add sex appeal as femme fatale, Breathless Mahoney. Not surprisingly, Beatty's off-screen involvement with Madonna was duly covered by the press and in her feature documentary, "Truth or Dare" (1991), in which it was painfully apparent that the Beatty/Madonna combo was a mismatched couple from the start. The picture, which was noted for both its impressive photography by Vittorio Storaro, its use of only six primary colors in its imagery, and for the wall-to-wall promotional campaign carried out in the summer of 1990, resulted in massive returns at the box office, making it the ninth highest grossing film of that year and the recipient of several Oscar nominations. By the accounts of several participants, including Disney chairman Jeffrey Katzenberg and composer Danny Elfman, the shoot was a difficult one, resulting in Beatty choosing not to direct another picture until 1998's "Bulworth." A legal battle over "Dick Tracy" would later erupt in 2005 when Beatty filed suit against Tribune Media Services over ownership of the rights to Dick Tracy on film and television, which the actor claimed he legally received in 1985.
Beatty segued from lawman Dick Tracy to notorious real-life gangster Bugsy Siegel in Barry Levinson's "Bugsy" (1991). The film, which he also produced, earned countless Oscar nominations - including a Best Actor nod for Beatty - and a Golden Globe for Best Picture, also became notable as the project on which Beatty met Annette Bening, an acclaimed stage actress and Oscar nominee for her dazzling turn in Stephen Frears' "The Grifters" (1990). As with so many of his female co-stars, Beatty began a romance with Bening, but unlike his commitment-phobic tendencies in the past, the inveterate bachelor surprised Hollywood by marrying her in 1992. Four children (three daughters and a son) followed between 1992 and 2000, with the couple considered almost Hollywood royalty. Certainly Bening benefited at the onset from just a PR standpoint, as the one woman who had made perhaps the most notorious bachelor in the history of film finally settle down.
Flush with newfound domestic happiness and onscreen success, Beatty began work on several new projects - the first of which was "Love Affair" (1994), a remake of the 1957 Cary Grant-Deborah Kerr romance "An Affair To Remember" (1957). Beatty and Bening took the leads, and despite the presence of a rare (and final) screen appearance by Katherine Hepburn, the film failed to ignite any heat with audiences. Undaunted, Beatty began work on "Town and Country" (2001) in 1998. The costly comedy, which co-starred former flame Diane Keaton and Garry Shandling, quickly ran into production troubles, most notably from producer Beatty himself, who insisted on countless retakes. Shooting ran on into 1999, and several cast members (including Keaton and Shandling) had to take leave of the film to work on other projects. By 2000, reshoots were required (which added significantly to the budget), as well as a whole new script (by Buck Henry, who was the last in a long line of new writers for the film). When the picture arrived in theaters in 2001, the negative advance notice helped to crush any hopes of ticket sales. Its final tally was just over $10 million - some $80 million shy of its production costs.
No matter the troubles during the turbulent birthing of "Town and Country," Beatty soon managed to turn out one of his finest and most ambitious films to date. In "Bulworth" (1998), which he directed, co-wrote, and co-produced, he told the story of a faded Democratic senator (Beatty) who decides to have himself killed in order for his family to claim a sizable insurance policy. Realizing that his days were numbered, he decides to speak out against the growing tide of right-wing ideology that had engulfed modern politics - and in doing so, attracts a sizable following. An exceptionally risky and delicate project on nearly every front - from the casting of poet and political activist Amiri Baraka, to the romance between Beatty and African-American actress Halle Berry, to Bulworth's adoption of hip-hop rhymes and dress to deliver his message - "Bulworth" managed to connect with audiences, who admired Beatty's bravado and willingness to put forward a bold political statement on film which would foreshadow the future of politics. Academy voters also acknowledged his gutsy move by nominating its screenplay in 1999.
Politics had always been part of Beatty's personality - in addition to his relationships with J.F.K. and George McGovern, Beatty had also campaigned tirelessly for Robert F. Kennedy during the late 1960s, and helped introduce the idea of the "benefit concert" by bringing together Barbra Streisand, James Taylor and Simon and Garfunkel to raise funds for McGovern's campaign in 1972. Later, Beatty would lend his name and words to presidential runs for McGovern's former campaign manager, Senator Gary Hart, in 1984 and 1988. In 1999, Beatty made what sounded like overtures to a run for the Presidency when he expressed disappointment in Democratic candidates Bill Bradley and Vice President Al Gore. A flurry of press activity followed Beatty's consultation with various political advisors, but by September of that year, he announced that he would not seek the candidacy. However, the Reform Party, which was reeling over radical conservative Pat Buchanan's switch from Republican to their camp, pressed Beatty to reconsider. Despite pressure from everyone from Donald Trump to Ariana Huffington, Beatty remained steadfast in his decision not to run. In 2005, Beatty again surfaced as a possible political candidate in a special election launched by California governor Arnold Schwarzenegger to pass several ballot measures on political spending, energy regulation, and parental notification for teens seeking abortions. Beatty campaigned against the election in person and on radio, and when the measures were defeated in 2005, speculation grew that he would run against Schwarzenegger in the 2006 election. Beatty quickly nixed the notion, but added that he would consider a run for office if he could add to the debate in a positive manner.
Beatty's film career went dormant after "Town and Country" and "Bulworth," though he was courted for several high-profile projects, including Quentin Tarantino's "Kill Bill" (2005), in which he was slated to play uber-pimp and killer Bill, but soon departed. His suggestion that Tarantino cast David Carradine in the role led to the latter's career revival. He was also considered for the role of president in Tim Burton's "Mars Attacks" (1995), but was replaced by longtime friend Jack Nicholson; Jack Horner in "Boogie Nights" (1995), but Burt Reynolds took the role; and two turns as Richard Nixon - in Oliver Stone's "Nixon" (1995) and Ron Howard's "Frost/Nixon," (2008). As befitting a filmmaker of his stature, he was honored with several top awards by the creative community, including the Irving Thalberg Award in 2000, the Kennedy Center Honors in 2004, honorary chairman status of the Stella Adler Studio (replacing Marlon Brando) in 2006, the Cecil B. DeMille Award from the Hollywood Foreign Press Association at the 2007 Golden Globes, and the recipient of the AFI Lifetime Achievement Award in 2008. Meanwhile, word spread in 2011 that Beatty was returning to the director's chair for the pseudo-biopic "The Rules Don't Apply," in which he planned on playing mogul Howard Hughes, who has an affair with a younger woman later in life.
|Isabel Ira Ashley Beatty||Daughter||Born Jan. 11, 1997; mother, Annette Bening|
|Madonna||Companion||Met in 1989 while filming "Dick Tracy" (1990); He appeared in her documentary "Truth or Dare" (1991); Ended relationship in 1990|
|Cher||Companion||Had a brief relationship in the 1960s when Cher was a teenager|
|Isabelle Adjani||Companion||Together from 1986-87; No longer together|
|Ella Beatty||Daughter||Born April 8, 2000; mother, Annette Bening|
|Benjamin Beatty||Son||Born Aug. 23, 1994; mother, Annette Bening|
|Ira Beaty||Father||Professor of psychology; also served as superintendent of Richmond High School in Virginia; Died in 1987|
|Kathlyn Beaty||Mother||Nova Scotia-born; Died in 1994|
|Annette Bening||Wife||Met during filming of "Bugsy" (1991); Married March 12, 1992|
|Kathlyn Bening Beatty||Daughter||Born Jan. 8, 1992; mother, Annette Bening|
|Julie Christie||Companion||Together in the late 1960s and early 1970s; Co-starred in "McCabe and Mrs. Miller" (1971), "Shampoo" (1975) and "Heaven Can Wait" (1978); No longer together|
|Joan Collins||Companion||Together from the late 1950s to early 1960s; Were engaged in the early 1960s when Beatty began affair with Natalie Wood; No longer together|
|Jane Fonda||Companion||Met when they auditioned for the teen movie "Parrish" in 1960; No longer together|
|Diane Keaton||Companion||Dated in the early 1980s around the time of the making of "Reds" (1981); no longer together|
|Shirley MacLaine||Sister||Born April 24, 1934; Academy Award-winning actress known for starring in "The Apartment" (1960), "The Turning Point" (1977) and "Terms of Endearment" (1983)|
|Diane Sawyer||Companion||Reportedly dated|
|Stephanie Seymour||Companion||Dated in 1991; She ended relationship with Beatty for Axl Rose of the rock band Guns N' Roses|
|Carly Simon||Companion||Rumored to have written "You're so Vain" (1972) about him; No longer together|
|Natalie Wood||Companion||Had an affair during making of "Splendor in the Grass" (1961)|
|Washington-Lee High School|
|Stella Adler's Conservatory of Acting|
|He was named as the Harvard Hasty Pudding Man of the Year in 1975.|
|"The legend began early. The columns began toting up the women Beatty kept company with - Natalie Wood, Joan Collins, Elizabeth Taylor, just to name some early brunets - and the public took notice. The men of Hollywood, who respect such things, had already noticed. (His catch phone-phrase to women, 'What's new, pussycat?' became a movie title and song.)" - from Entertainment Weekly, Dec. 20, 1991|
|Named a Commander of the French Order of Arts and Letters in 1992.|
|"Prior to meeting Bening, Beatty has been quoted as saying to ["Bugsy" director] Barry Levinson, 'The thing about Bugsy Siegel... he was very promiscuous throughout his life, until he met Virginia Hill [the role Bening was to play]. When they got together, he never went after another woman. He found someone who accepted him for what he was.'" - from an interview with Dominick Dunne in Vanity Fair magazine, September 1994|
|"I used to say that for me, making a movie was like vomiting. I really did not look forward to it, but after I did it, I felt better. And when I have such a full life, as I do now, the periods of not wanting to vomit grow longer. Because when I vomit and then I'm producing and I'm directing and I'm writing and I'm acting and all of that nonsense, it's somtimes sickening." - Beatty to Premiere magazine, November 2006|
|In 1968, Beatty campaigned for Senator Robert F. Kennedy|
Warren Beatty says the Blockbuster Entertainment Awards had "a certain improvised quality," and perhaps the stars' style did, too. Find out what to wear, and what not to wear, when you go to a big awards show when Sandra Bullock, Juliette Lewis and others talk about fashion, hair and makeup. Plus: Christina Aguilera tells us ju
From classic movie palaces to the state-of-the-art IMAX screens.