Warren Beatty

Warren Beatty

Highest Rated: 97% Paul Williams Still Alive (2012)

Lowest Rated: 0% The Roman Spring of Mrs. Stone (1961)

Birthday: Mar 30, 1937

Birthplace: Richmond, Virginia, USA

It might have been easy to write off American actor Warren Beatty as merely the younger brother of film star Shirley MacLaine, were it not for the fact that Beatty was a profoundly gifted performer whose creative range extended beyond mere acting. After studying at Northwestern University and with acting coach Stella Adler, Beatty was being groomed for stardom almost before he was of voting age, cast in prominent supporting roles in TV dramas and attaining the recurring part of the insufferable Milton Armitage on the TV sitcom Dobie Gillis. Beatty left Dobie after a handful of episodes, writing off his part as "ridiculous," and headed for the stage, where he appeared in a stock production of Compulsion and in William Inge's Broadway play A Loss of Roses.The actor's auspicious film debut occurred in Splendor in the Grass (1961), after which he spent a number of years being written off by the more narrow-minded movie critics as a would-be Brando. Both Beatty and his fans knew that there was more to his skill than that, and in 1965 Beatty sank a lot of his energy and money into a quirky, impressionistic crime drama, Mickey One (1965). The film was a critical success but failed to secure top bookings, though its teaming of Beatty with director Arthur Penn proved crucial to the shape of movie-making in the 1960s. With Penn again in the director's chair, Beatty took on his first film as producer/star, Bonnie and Clyde (1967). Once more, critics were hostile -- at first. A liberal amount of praise from fellow filmmakers and the word-of-mouth buzz from film fans turned Bonnie and Clyde into the most significant film of 1967 -- and compelled many critics to reverse their initial opinions and issue apologies. This isn't the place to analyze the value and influence Bonnie and Clyde had; suffice it to say that this one film propelled Warren Beatty from a handsome, talented film star into a powerful filmmaker.Picking and choosing his next projects very carefully, Beatty was offscreen as much as on from 1970 through 1975, though several of his projects -- most prominently McCabe and Mrs. Miller (1971) and The Parallax View (1974) -- would be greeted with effusive praise by film critics and historians. In 1975, Beatty wrote his first screenplay, and the result was Shampoo (1975), a trenchant satire on the misguided mores of the late '60s. Beatty turned director for 1978's Heaven Can Wait, a delightful remake of Here Comes Mr. Jordan that was successful enough to encourage future Hollywood bankrolling of Beatty's directorial efforts. In 1981, Beatty produced, directed, co-scripted and acted in Reds, a spectacular recounting of the Russian Revolution as seen through the eyes of American Communist John Reed. It was a pet project of Beatty's, one he'd been trying to finance since the 1970s (at that time, he'd intended to have Sergei Bondarchuk of War and Peace fame as director). Reds failed to win a Best Picture Academy Award, though Beatty did pick up an Oscar as Best Director. Nothing Beatty has done since Reds has been without interest; refusing to turn out mere vehicles, he has taken on a benighted attempt to re-spark the spirit of the old Hope-Crosby road movies (Ishtar [1984]); brought a popular comic strip to the screen, complete with primary colors and artistic hyperbole (Dick Tracy [1991]); and managed to make the ruthless gangster Bugsy Siegel a sympathetic visionary (Bugsy [1992]). In 1998 he was able to breath new life into political satire with Bulworth, his much acclaimed film in which he plays a disillusioned politician who turns to rap to express himself. In 2001, Beatty rekindled memories of Ishtar as he starred in another phenomenal bust, Town & Country. Budgeted at an astronomical 90 million dollars and earning a miserable 6.7 million dollars during it's brief theatrical run, Town & Country was released three years after completion and pulled from theaters after a mere four weeks, moving critics to rank it among the biggest fl


Highest Rated Movies



No Score Yet Becoming Iconic Actor 2018
55% Rules Don't Apply Howard Hughes Director Screenwriter Producer $3.7M 2016
97% Paul Williams Still Alive Actor $38.1K 2012
No Score Yet You Must Remember This: The Warner Bros. Story Actor 2008
82% One Bright Shining Moment: The Forgotten Summer of George McGovern Actor 2005
No Score Yet Citizen Stan Actor 2004
20% Down to Earth Screenwriter $63.1M 2001
13% Town & Country Porter Stoddard $6.3M 2000
76% Bulworth Producer Screenwriter Sen. Jay Bulworth Director 1998
30% Love Affair Screenwriter Producer Mike Gambril Mike 1994
No Score Yet Academy Award Winners, The First 50 Years: Volume 10 - Hollywood Comes to Age Actor 1994
No Score Yet Stella Adler: Awake and Dream! Actor 1992
85% Bugsy Producer Ben Siegel 1991
87% Madonna: Truth or Dare Himself 1991
62% Dick Tracy Dick Tracy Screenwriter Director Producer 1990
No Score Yet Spy Actor 1989
57% The Pick-Up Artist Producer Executive Producer 1987
37% Ishtar Lyle Rogers Producer 1987
No Score Yet George Stevens: A Filmmaker's Journey Himself 1984
No Score Yet Dealers in Death: Murder and Mayhem in America Actor 1984
89% Reds Producer John Reed 1981
88% Heaven Can Wait Director Joe Pendleton Screenwriter Producer 1978
17% The Fortune Nicky 1975
60% Shampoo George Producer Screenwriter 1975
90% The Parallax View Joseph Frady 1974
No Score Yet Year of the Woman Actor 1973
86% $ (Dollars) (The Heist) Joe Collins 1971
87% McCabe & Mrs. Miller John McCabe 1971
No Score Yet The Only Game In Town Joe Grady 1970
87% Bonnie and Clyde Producer Clyde Barrow 1967
No Score Yet Kaleidoscope Barney Lincoln 1966
71% Mickey One Mickey One 1965
86% Lilith Vincent Bruce 1964
No Score Yet Promise Her Anything Harley Rummel 1964
40% All Fall Down Berry-Berry Willart 1962
81% Splendor in the Grass Bud Stamper 1961
0% The Roman Spring of Mrs. Stone Paolo di Leo 1961


No Score Yet The Graham Norton Show
Guest 2017
No Score Yet Sunday Morning
Appearing 2016
No Score Yet The Ellen DeGeneres Show
Guest 2016
No Score Yet The Tonight Show Starring Jimmy Fallon
Guest 2016
100% The Larry Sanders Show
Himself 1998


John Reed says: Look, what does a capitalist do? Let me ask you that, Mike. Huh? Tell me. I mean, what does he make, besides money? I don't know what he makes. The workers do all the work, don't they? Well, what if they got organized?

John McCabe says: If a frog had wings he wouldn't bump his ass so much.

Dick Tracy says: Tess, there's about as much chance of me getting behind a desk as there is of me getting a new girlfriend.

Clyde Barrow says: We rob banks.

Clyde Barrow says: the truck drivers come in to eat greasy burgers and they kid you and you kid them back, but they're stupid and dumb, boys with big tattoos all over 'em, and you don't like it... And they ask you for dates and sometimes you go... but you mostly don't, and all they ever try is to get into your pants whether you want to or not... and you go home and sit in your room and think, when and how will I ever get away from this?... And now you know.

Clyde Barrow says: Hell, you might just be the best damn girl in Texas.

Clyde Barrow says: [about Bonnie's poem] You know what you done there? You told my story, you told my whole story right there, right there. One time, I told you I was gonna make you somebody. That's what you done for me. You made me somebody they're gonna remember.

Clyde Barrow says: This here's Miss Bonnie Parker. I'm Clyde Barrow. We rob banks.

Clyde Barrow says: I don't think he's lost. I think the bank's been offerin' extra reward money for us. I think Frank just figured on some easy pickin's, didn't ya Frank? You're no Texas Ranger. You're hardly doin' your job. You ought to be home protectin' the rights of poor folk, not out chasin' after us!

Jay Bulworth says: What we used to call America, that going down the drains.

Jay Bulworth says: We got a club. Right? Republicans, Democrats, what's the difference? Your guys, my guys, our guys, us guys. It's a club.

Jay Bulworth says: Now over here we have our friends in oil they don't give a shit how much wilderness is spoiled. They tell us that they're careful, we know that it's a lie, As long as we keep driving cars, they let the planet die.

Jay Bulworth says: Taxpayers, taxpayers take in the rear.

Jay Bulworth says: Now people got their problems, the haves and the have-nots, but the ones that make me listen pay for thirty second spots.

Jay Bulworth says: The funny thing is how lousy most of your stuff is. You know, you make violent films, you make dirty films, you make family films, but just most of them are not very good, are they? Funny, that so many smart people can work so hard on them, and spend all that money on them, and, what do you think it is? It must be the money. I turns everything to crap.

Jay Bulworth says: We told you what you wanted to hear, we got our pictures taken, and we pretty much forgot about it.

Himself says: Warren Beatty: [after Madonna declines to talk to her doctor off-camera] She doesn't want to live off-camera, much less talk. There's nothing to say off-camera. Why would you say something if it's off-camera? What point is there existing?

Warren Beatty says: [after Madonna declines to talk to her doctor off-camera] She doesn't want to live off-camera, much less talk. There's nothing to say off-camera. Why would you say something if it's off-camera? What point is there existing?

Clyde Barrow says: We rob banks!

Dick Tracy says: The enemy of my enemy is my enemy.

Lyle Rogers says: It takes a lot of courage to have nothing at your age.

Dick Tracy says: I'm on my way.

Clyde Barrow says: We rob banks.