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First Artists was a production company that operated from 1969 to 1980. Designed to give movie stars more creative control over their productions, the initial actors who formed First Artists were Paul Newman, Barbra Streisand, and Sidney Poitier; later joined by Steve McQueen and Dustin Hoffman. Movies made by First Artists include McQueen's The Getaway and the company's most successful film, Streisand's A Star Is Born.[1]

Key Information

History

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Beginnings

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The company was formed in 1969 and was the idea of agent Freddie Fields of Creative Management Associates with assistance from his partner David Begelman. Inspired by the formation of United Artists, Newman, Streisand, and Poitier formed First Artists with the understanding that they would have more creative control over their productions in exchange for being paid lower salaries and a share of the profits. Each star promised to make three productions for the company, which would also be involved in television production, music publishing, and recording. The distributor of the films would be National General Pictures, which would put up two-thirds of the money for a film, with First Artists putting up the rest.[1]

In July 1970 Patrick Kelly was appointed chief executive officer of First Artists.[2] The following year Steve McQueen joined the company.[1] The company's first slate of films were Pocket Money (1972) with Newman, The Getaway (1972) with McQueen, The Life and Times of Judge Roy Bean (1972) with Newman, and Up the Sandbox (1972) with Streisand. The Getaway and Roy Bean were particularly successful.

In 1972 First Artists offered 350,000 shares to investors at $7.50.[3] That year Dustin Hoffman joined the company, agreeing to make two films at no more than $3 million.[4][5] He would have creative control, provided the film did not go over budget and schedule.[6]

Meanwhile, First Artists' distributor National General Pictures went into liquidation.[7] In November 1973 Warner Bros. took over the distribution of First Artists movies.[8] First Artists sued National General, settling in 1976.[9]

Phil Feldman

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The company's initial output was sporadic, owing to the commitments of its stars, and by January 1975 it had only made seven films. That month, Philip K. Feldman, formerly a producer and an executive at CBS, Rastar, and Warner Bros., was brought in as chairman.[10] He increased the development slate, and moved First Artists into film distribution, television, and music to ensure a more constant source of income.[11]

Feldman decided to supplement the company's movies with other stars' films, such as Bobby Deerfield, originally developed for Paul Newman, and made with Al Pacino at Columbia. First Artists became involved in the production of The Gumball Rally, was a distribution consultant on The Ritz, and did TV movies like Minstrel Man.[11]

In July 1977 Feldman announced that Bill Cosby, who had appeared in three Poitier films, would produce and star in a film for the company called Sitting Pretty. "I consider him a member of the team," said Feldman of Cosby.[12] Other films the company planned to make included Repo, with Darren McGavin, Stevie with Glenda Jackson, and Devilfish with Bert Gordon. (Devilfish and Sitting Pretty would ultimately not be made.) First Artists shared development costs on Bobby Deerfield, The Gauntlet, and The One and Only; and co-produced Speedtrap with a Dutch conglomerate. The company also distributed some foreign films in the US, such as Pardon Mon Affaire and That Obscure Object of Desire.[12]

In 1976, McQueen made An Enemy of the People, which tested so poorly that it was never officially released.[13] When First Artists refused to option Harold Pinter's Old Times for McQueen, the actor sued the company.[1] The case was settled out of court.[1]

Feldman insisted that Hoffman not make pictures for other studios until his obligation to First Artists was completed. Hoffman wound up suing First Artists for $65 million, claiming that he was denied creative control on Straight Time and Agatha.[6][5] Feldman counter-claimed that these movies had gone over budget and schedule, allowing him to step in.[14][15]

In July 1978 the company acquired Joel/Cal-Made, a male clothing manufacturer, for $8 million.[16] In November the company sought to buy into a London casino but was unsuccessful.[17]

End of the company

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Films such as Straight Time (Hoffman, 1978) and Agatha (Hoffman, 1979) performed poorly at the box office, although The Main Event (Streisand, 1979) was very successful. In September 1979 Philip Feldman resigned as chairman and president. The company was put up for sale.[18]

On December 31, 1979, the voting trust that ran First Artists on behalf of its founder‐shareholders expired and First Artists left the movie business. By this stage, the company's shares were worth $4 apiece. The company's last film was Tom Horn.[1] The company closed down a year later in March 1980 and was sold to Warner Bros.

Select filmography

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National General Pictures

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Warner Bros.

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TV Movies

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  • Flight to Holocaust (1977) (TV film)
  • Minstrel Man (1977) (TV film)
  • The Paul Williams Show (1979) (TV special)

First Artists distributed

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Distributor only

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Unmade projects

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References

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[edit]
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First Artists

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First Artists was an American film production company founded on June 21, 1969, by actors , , and to finance, produce, and distribute motion pictures starring its partners, granting them unprecedented creative control from conception through distribution. Modeled after the independent spirit of , the company aimed to prioritize quality storytelling across genres like , , and musicals while streamlining production processes and fostering opportunities for diverse talents. Initially incorporated as First Artists Production Co., Ltd., the founders each committed to starring in at least three films for the company, with plans to expand into television, music publishing, and recording ventures. joined as a partner in 1971, followed by in 1972, expanding the roster of high-profile talent and enabling a broader slate of star-driven projects. Over its decade of operation, First Artists produced 15 films, often distributed initially by and later by Warner Bros., with notable successes including The Getaway (1972) starring McQueen, A Star Is Born (1976) featuring Streisand, and (1978) with Hoffman. Despite early promise as a bold experiment in actor empowerment during the era, the company faced significant challenges, including underperforming projects like Newman's (1972) and McQueen's (1978), which strained finances amid clashes between creative autonomy and commercial demands. By 1979, with leadership changes such as the resignation of chairman Philip Feldman and diversification efforts into non-film areas like apparel yielding limited returns—$19 million of $43.8 million in 1979 revenue from shirts alone—the company's voting trust expired, leading to its sale to in 1980 and effective dissolution. First Artists ultimately symbolized both the aspirations and pitfalls of star-led independence in an evolving industry, producing a mixed legacy of influential films while highlighting the tensions of balancing artistry with profitability.

Formation and Structure

Founding and Key Principals

First Artists Production Co., Ltd. was established on June 21, 1969, in Hollywood, California, by prominent actors , , and . Each of the initial founders committed to starring in and producing three films under the company's banner, aiming to foster collaborative projects that leveraged their star power. The formation was spearheaded by Hollywood agent of Creative Management Associates, in partnership with , who envisioned the venture as a means to empower actors in the production process. The company's creation stemmed from the founders' desire for greater creative control over their projects, equitable rather than fixed salaries, and independence from the traditional constraints of major studios. This initiative emerged amid the era, a period of industry upheaval in the late and early characterized by shifting power dynamics toward filmmakers and talent seeking artistic autonomy. In subsequent years, the principal partners expanded with the addition of in 1971 and in 1972, further strengthening the company's roster of high-profile talent.

Business Model and Operations

First Artists operated as an actor-led , where principal stars financed, produced, and starred in films to retain substantial creative and financial control over their projects. In exchange for this autonomy, the actors forwent traditional upfront salaries, instead receiving backend profits that included an "off the top" percentage of returns starting from the point of distribution. Each founding star committed to starring in three films for the company, with the goal of prioritizing artistic freedom and efficient production processes from concept development to final release. The company's operational structure was based in , with a lean focus on producing a limited number of high-profile films—approximately 15 over its decade-long existence—rather than the high-volume output of major studios. Profits were split among the partners only after recouping production costs, with the company handling key functions such as script development, , and to streamline operations and direct resources toward on-screen quality. Daily management fell to a small team of executives, allowing the star principals to concentrate on creative input without day-to-day involvement. Distribution and financing partnerships were central to the model, beginning with an initial deal with from 1971 to 1974, which handled releasing the company's films. Following National General's liquidation in 1973, assumed distribution responsibilities in November of that year and provided two-thirds of the production budget for each project, with First Artists covering the remaining one-third through star investments and other sources. This arrangement ensured wide theatrical release while preserving the company's independence. In a brief expansion beyond , First Artists ventured into television production starting in 1977, alongside exploratory efforts in music publishing and recording, though these initiatives were largely scaled back by the late 1970s with minimal lasting output. The overall financial framework emphasized backend participation over salaries, aligning incentives for stars to select commercially viable projects while minimizing overhead costs.

Historical Development

Early Productions and Growth (1969-1974)

Following its formation in 1969 by , , and , each of whom committed to starring in and producing three films, First Artists entered a growth phase marked by the addition of as a principal in 1971. This expansion helped solidify the company's position, enabling it to announce its initial slate of productions centered on high-profile star vehicles. The partnership with provided crucial support, handling distribution and contributing two-thirds of the financing for each film while First Artists covered the remainder, allowing the company to focus on creative oversight without full financial risk. The company's early output in 1972 featured four key films that fulfilled initial commitments from Newman and Streisand, while introducing McQueen's involvement. Pocket Money, directed by Stuart Rosenberg and starring Newman as a down-on-his-luck cowboy, explored themes of economic struggle in the American West. The Getaway, helmed by Sam Peckinpah and led by McQueen alongside Ali MacGraw, depicted a tense crime thriller about an escaped convict and his wife on the run, becoming a defining action film of the era. Newman's second contribution, The Life and Times of Judge Roy Bean, directed by John Huston, offered a whimsical Western biography with Newman in the titular role as a self-appointed judge in the Old West. Streisand starred in Up the Sandbox, directed by Irvin Kershner, a comedic drama about a housewife's fantasies amid domestic life. These releases demonstrated First Artists' emphasis on star-driven narratives with artistic ambition. By 1974, First Artists had released initial films from the founders, with Poitier's projects like (1972) adding to the portfolio, though his output lagged slightly behind. Box office performance provided momentum, particularly with The Getaway, which grossed over $25 million in theatrical rentals on a $3 million budget, contributing to a combined $50 million in rentals from the four 1972 releases. This success underscored the viability of the star-centric model, boosting company stock from $7.50 per share in 1972 to $11.375 by 1973 and attracting further talent like . Despite these advances, growth was tempered by production challenges, including delays from coordinating the stars' busy schedules and refining scripts to align with their creative visions. The emphasis on quality over speed resulted in a deliberate pace, with only a handful of films completed in the first five years, as stars prioritized projects that matched their artistic standards amid competing commitments.

Leadership Transitions and Challenges (1975-1979)

Following the initial phase of expansion, First Artists underwent significant leadership changes in the mid-1970s to address mounting operational and financial pressures. In 1975, Phil Feldman, a veteran executive previously with and , was appointed chairman and president to reorganize the company and impose greater discipline on its star partners, who had been granted substantial creative autonomy since the company's founding. This transition marked a shift from the earlier involvement of organizers and , who had helped establish the company in 1969 but stepped back as Begelman moved to in 1973, leaving Fields to manage escalating costs and star demands before his own departure around that time. Feldman's role aimed to streamline decision-making amid internal tensions, though his authoritative approach exacerbated conflicts with principals like and , who accused the company of undermining their creative control on projects such as Straight Time and Agatha for Hoffman, leading to a $65 million lawsuit in 1978, and a dispute over McQueen's rejected script for Old Times, which was settled out of court but forced him into Tom Horn. Financial strains intensified during this period, compounded by the lingering effects of earlier flops like (1972), which grossed only $3.5 million against a $5 million , contributing to ongoing deficits that eroded investor confidence. In 1975, the company reported a net loss of $33,000 on $9.3 million in revenue, reflecting overcommitment to high-risk star vehicles that delayed productions as prioritized external commitments. To stabilize operations, First Artists shifted distribution partnerships from the defunct National General to in the mid-1970s, seeking more reliable financing and release support amid the industry's broader , characterized by and reduced theater attendance following the 1973-1975 downturn. By 1979, revenues had risen to $43.8 million with a modest of $492,900, but stock prices had plummeted from $11.375 in 1973 to around $4, signaling persistent viability concerns. A notable bright spot came with the 1976 release of A Star Is Born, starring and , which grossed $80 million domestically and helped offset prior deficits through its massive commercial success. However, internal disputes over project approvals persisted, as Feldman's push for diversification into television, music publishing, and even casino ventures largely failed, with only a sportswear subsidiary providing consistent profitability. The late 1970s industry slowdown, driven by economic pressures like the , further strained budgets for star-driven films, limiting output to just 15 features over the decade—far below major studio paces—and highlighting the challenges of balancing artistic freedom with fiscal discipline. These issues culminated in Feldman's resignation in September 1979, citing a production slowdown, after which Edwin E. Holly was named president in a bid to salvage the company.

Dissolution and Aftermath (1980)

First Artists ceased operations in March 1980, concluding 11 years of activity as an independent production entity. The process began with the expiration of its voting trust on December 31, 1979, which effectively halted movie-making under the company's original structure. The dissolution stemmed from mounting financial pressures, including cumulative losses that left the company with current liabilities of $6.4 million as of mid-1979, alongside partner fatigue from ongoing disputes and the venture's inability to pivot toward the high-stakes blockbuster model dominating Hollywood by the late 1970s. A notable loss of $33,000 on $9.3 million in sales occurred in 1975, while 1979 saw marginal net income of $0.4 million on $43.8 million in revenues—much of it from a non-film subsidiary—amid a production slowdown and failed efforts to find a buyer since September 1979. Tensions peaked with internal conflicts, such as Dustin Hoffman's $65 million lawsuit against Warner Bros. and First Artists over final cut privileges on projects like Agatha (1979) and Straight Time (1978), exacerbating exhaustion among principals including Paul Newman, Barbra Streisand, Sidney Poitier, Steve McQueen, and Hoffman. Warner Bros., the company's distributor since National General's 1974 liquidation, acquired First Artists' assets in 1980, absorbing its library of 15 films and receivables into its catalog while canceling outstanding projects. No revival efforts followed, and the partners shifted to individual production agreements with studios, leveraging their star power outside the cooperative framework. The last First Artists-backed release, Tom Horn starring , arrived in theaters via in March 1980.

Production Output

Theatrical Films

First Artists produced a total of 15 theatrical films between 1972 and 1980, initially distributed by from 1972 to late 1973 before transitioning to amid financial issues with the prior partner. These star-driven projects allowed principals including , , , , and to pursue diverse genres such as westerns, thrillers, comedies, and dramas. During the National General era (1972–1973), First Artists released four films emphasizing action, comedy, and western narratives. Pocket Money (1972), directed by and starring as a struggling , mixed adventure and drama but earned modest domestic returns of approximately $2.5 million. The Getaway (1972), Sam Peckinpah's gritty thriller with and as fugitives, was a commercial success, grossing $36.7 million domestically. 's The Life and Times of Judge (1972), a satirical western directed by featuring and , received mixed reviews for its quirky style. starred in Irvin Kershner's comedy (1972) as a with fantastical daydreams, exploring feminist themes but underperforming with less than $10 million in . The Warner Bros. era (1974–1980) saw the remaining 11 films, including key vehicles for the stars and some ensemble works, though profitability varied. Sidney Poitier's A Warm December (1973), directed by the actor, was a romantic drama about a widower (Poitier) and his daughter's illness. Poitier's comedies Uptown Saturday Night (1974) and Let's Do It Again (1975), both directed by him and co-starring Bill Cosby, were lighthearted capers that grossed well, with the latter earning $29.4 million domestically. Poitier's final First Artists film, A Piece of the Action (1977), again with Cosby and directed by him, focused on ex-criminals mentoring youth. Paul Newman's The Drowning Pool (1975), a neo-noir sequel directed by Stuart Rosenberg with Joanne Woodward, continued the detective story from Harper (1966) and performed solidly. Streisand's A Star Is Born (1976), directed by Frank Pierson with Kris Kristofferson, was a musical remake that grossed $80 million domestically and won Oscars for Best Original Song ("Evergreen") and Score. Newman's Bobby Deerfield (1977), an introspective racing drama directed by Alan J. Pakula with Marthe Keller, explored loss and romance but had modest returns. Hoffman's Straight Time (1978), directed by Ulu Grosbard with Theresa Russell, depicted a parolee's challenges and was acclaimed for authenticity despite limited box office. Streisand's The Main Event (1979), a screwball comedy directed by Howard Zieff with Ryan O'Neal, mixed romance and humor to mixed reviews. McQueen's Tom Horn (1980), a revisionist western directed by William Wiard, addressed injustice but flopped commercially. Other releases included The Gumball Rally (1976), a road-racing comedy; The One and Only (1978), a satirical look at showbiz with Henry Winkler (shared development costs); and Agatha (1979), a mystery directed by Michael Apted starring Vanessa Redgrave and Dustin Hoffman. First Artists also produced An Enemy of the People (1978), an adaptation directed by George Schaefer starring Steve McQueen, but it went unreleased theatrically after poor test screenings. The portfolio showed genre diversity and star focus, with hits like A Star Is Born highlighting potential amid inconsistent financial results.

Television Productions

In 1977, First Artists expanded into television production with made-for-TV films, marking a limited diversification from theatrical releases. The approach adapted the star model to TV's budget limits, focusing on social issues and drama with notable talent. This phase produced three projects through 1979, garnering modest reception amid the company's financial strains. The debut, Flight to Holocaust, aired on on March 27, 1977, in the World Premiere Movie series. Directed by , the disaster drama followed experts preventing a catastrophe after a plane crashes into a skyscraper, starring , , , and . Co-produced with Aycee Productions, it tapped the era's disaster trend on a TV scale. Later in 1977, Minstrel Man premiered on on March 2. Directed by William A. Graham, this musical biopic portrayed two Black brothers in early 20th-century minstrel shows and vaudeville, led by , , , and S. Pearl Sharp. Addressing racial injustice and perseverance, it received three Primetime Emmy nominations (including Outstanding Drama Special and music) and an Image Award for composer Fred Karlin's score. Credits acknowledge First Artists Production Company Limited. The final TV effort, The Paul Williams Show, aired on NBC on June 27, 1979. This half-hour variety pilot, hosted by singer-songwriter Paul Williams with guests like and , featured music and sketches. Not renewed as a series, it showcased Williams' talents from film soundtracks. Production credits include First Artists. These television ventures reflected brief ambition but were sidelined as film losses mounted, contributing to the 1980 dissolution.

Unproduced Projects

Planned but Abandoned Films

First Artists developed several film projects that advanced to scripting or stages but ultimately failed to reach completion, contributing to the company's numerous major unmade endeavors during its operation from 1969 to 1980. These abandoned efforts often stemmed from challenges such as shifting star commitments, funding shortfalls, or distributor withdrawals. Barbra Streisand, a founding principal, was attached to a biopic of French actress Sarah Bernhardt in the early 1970s, to be directed by Ken Russell and co-produced through First Artists. Russell developed a screenplay and corresponded extensively with Streisand, but the project stalled as both parties pursued other commitments, including Russell's The Boy Friend (1971) and Streisand's What's Up, Doc? (1972). Streisand also proposed an adaptation of Isaac Bashevis Singer's story Yentl, the Yeshiva Boy about a girl aspiring to be a rabbinical student, which advanced but was ultimately shelved by the company due to creative and priority conflicts, later produced independently by Streisand in 1983. Another unproduced project was McQueen's option on Harold Pinter's play , which First Artists refused to greenlight over quality concerns, leading to a settled out of court. An additional abandoned effort involved Bill Cosby's planned adaptation of Al Young's 1976 novel Sitting Pretty, where Cosby intended to direct, star, produce, and compose the score. First Artists promoted the comedy with a full-page ad in Variety magazine, highlighting its potential as a star-driven vehicle, but the project was shelved for unknown reasons, possibly related to post-1978 shifts in company priorities amid financial strains.

Legacy and Impact

Industry Influence

First Artists played a pivotal role in the movement by pioneering the actor-production company model, which empowered stars to assume greater creative and financial authority in an industry still transitioning from the rigid of the 1940s and 1950s. Established in 1969 by , , and —with and joining later—the company allowed its principals to each develop and star in three films, trading high upfront salaries for backend profit participation and veto power over key decisions. This structure directly challenged the traditional power imbalance, enabling actors to curate projects that aligned with their artistic visions rather than studio mandates, and it served as a prototype for subsequent star-driven entities that emphasized talent-led packaging in the . A core contribution of First Artists was its advocacy for profit participation models, where stars received "off-the-top" percentages from gross revenues after distribution fees, often in partnership with studios like Warner Bros., which covered two-thirds of production costs. This approach not only incentivized fiscal discipline among actors but also facilitated the shift toward package deals, wherein talent assembled scripts, directors, and co-stars before pitching to studios, effectively democratizing project initiation during New Hollywood's experimental phase. By producing 15 films over a decade, including high-profile entries like The Getaway (1972) and A Star Is Born (1976), the company bridged the independent ethos of the era with major studio resources, influencing the hybrid production landscape that followed. The company also advanced diverse casting practices, particularly through Poitier's leadership in developing Black-led narratives that countered Hollywood's historical underrepresentation. Films such as (1972), co-starring and , featured an all-Black principal cast and explored post-Civil War themes of autonomy and resistance, marking early steps toward inclusive storytelling in mainstream cinema. This focus not only elevated Poitier's directorial debut but also set precedents for actor-producers to prioritize underrepresented voices, contributing to broader industry conversations on equity during the civil rights era's cultural ripple effects. Among its notable effects, First Artists' model inspired later indie star packages by demonstrating the viability—and pitfalls—of talent-centric production, while specific outputs like Streisand's A Star Is Born revived the musical genre through innovative soundtracks and star vehicles, influencing subsequent high-concept revivals in the and beyond. Overall, by fostering star empowerment amid New Hollywood's creative ferment, First Artists helped solidify the actor as a central architect of film development, reshaping power dynamics for generations of performers.

Cultural and Financial Significance

First Artists' productions collectively generated substantial box office revenue during the 1970s, with major successes such as A Star Is Born (1976), which earned approximately $80 million domestically, helping to offset underperforming titles like Up the Sandbox (1972) and Harry and Walter Go to New York (1976). The company's overall output, spanning 15 films, contributed to an estimated total gross exceeding $200 million worldwide, though internal revenues from 1975 to 1979 totaled roughly $144 million amid inconsistent profitability, with net profits rarely surpassing $3 million annually. By the time of its dissolution in 1980, First Artists had accumulated significant financial liabilities, including operational debts that led to its sale to Warner Bros., which acquired the valuable film library despite the company's challenges. Culturally, First Artists advanced star-driven narratives that addressed pressing social themes of the era, particularly through Sidney Poitier's vehicles like Uptown Saturday Night (1974), which highlighted Black experiences and interracial dynamics in a post-civil rights context, fostering greater diversity in mainstream Hollywood storytelling. Barbra Streisand's projects, including A Star Is Born, challenged gender norms by centering ambitious female leads in romantic and professional spheres, while Paul Newman's anti-establishment roles in films like Pocket Money (1972) and The Drowning Pool (1975) embodied the decade's skepticism toward authority, contributing to the era's shift toward more introspective and socially aware cinema. These efforts helped broaden the industry's representation of race, gender, and moral ambiguity during a transformative period for American film. The company's model underscored the vulnerabilities of talent-led ventures in an emerging blockbuster era, where reliance on individual stars' project choices often led to financial instability and creative misfires, as seen in several flops that strained resources despite blockbuster hits. This star-centric approach, while innovative, prefigured ongoing challenges for "vanity" production entities, influencing later producer-stars like by demonstrating the need for diversified financing and oversight beyond personal involvement. Following its 1980 closure, First Artists' catalog integrated into Warner Bros.' library, where titles like A Star Is Born have sustained popularity through theatrical re-releases, , and streaming platforms, generating ongoing ancillary revenue and cultural resonance in modern audiences.

References

  1. http://barbra-archives.com/bjs_library/60s/first-artists.html
  2. https://www.sothebys.com/en/buy/auction/2023/a-life-legacy-the-joanne-woodward-paul-newman-collection/first-artists-production-company-plaque?locale=en
  3. https://www.nytimes.com/1979/12/23/archives/first-artistsstarcrossed-child-of-the-1960s-at-a-glance-first.html
  4. https://catalog.afi.com/Catalog/MovieDetails/54532
  5. https://deadline.com/2007/12/rip-freddie-fields-4366/
  6. https://catalog.afi.com/Catalog/moviedetails/54612
  7. https://catalog.afi.com/Catalog/moviedetails/55857
  8. https://www.nytimes.com/1973/05/13/archives/but-the-getaway-is-a-smash-the-getaway.html
  9. https://www.nytimes.com/1979/03/21/archives/sad-hoffman-tells-of-film-suit-lawsuit-is-complicated-regarded-as.html
  10. https://www.latimes.com/archives/la-xpm-1991-10-11-mn-230-story.html
  11. https://www.avid.wiki/First_Artists
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  14. https://variety.com/2007/film/news/agent-freddie-fields-dies-at-84-1117977570/
  15. https://www.the-numbers.com/movie/Getaway-The
  16. https://variety.com/1977/film/reviews/straight-time-1200424168/
  17. https://www.ultimate70s.com/seventies_history/19770327/television
  18. https://www.hollywoodreporter.com/movies/movie-news/paramount-producer-ac-lyles-dies-639155/
  19. https://www.worldcat.org/title/minstrel-man/oclc/42758288
  20. https://www.latimes.com/archives/la-xpm-2004-may-04-me-karlin4-story.html
  21. https://www.imdb.com/title/tt0179600/
  22. https://www.barbra-archives.info/film-projects-in-development---barbra-streisand
  23. https://www.flavorwire.com/196203/10-unrealized-book-to-film-adaptations-wed-like-to-have-seen
  24. https://variety.com/2003/film/news/not-just-a-pretty-face-for-superstars-1117893089/
  25. https://www.rogerebert.com/reviews/sidney-movie-review-2022
  26. https://deadline.com/2019/07/sports-deal-kawhi-leonard-hollywood-stars-lessons-1202648584/
  27. https://www.hollywoodreporter.com/business/business-news/warner-bros-discovery-joint-venture-film-music-catalog-1236123709/
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