I Thought We Were Making Movies, Not History

34. The 1980s and 1990s

34 The 1980s and 1990s B ernard Slade, who had written Same Time, Next Year, had authored another play that had also been produced on Broadway by Morton Gottlieb. It was Romantic Comedy, starring Mia Farrow and Anthony Perkins, a story of a team of successful playwrights who, after long collaboration, discover their love for one another . Again, a romantic comedy that had been well reviewed. I found it highly amusing and considered it a good vehicle for two stars, much as Slade’s last effort had been. It would also be another film that was inexpensive to produce. I recommended that Universal acquire it for me, and they did so. Bern Slade received $750,000 for the rights to his play, and I agreed that Morton Gottlieb could again be my co-producer. We also commissioned Slade to write our screenplay. I decided, with the agreement of Universal, to offer the leading role to Dudley Moore, who in 1979 had enjoyed star-making success in the Blake Edwards comedy 10. Dudley had become the bright, interesting, young comedic actor of the time and seemed an excellent candidate. The plot of Romantic Comedy is slight, but it was written with warm, funny, Neil Simon–like humor. I judged that with a reasonable budget and interesting stars, it could give a good account of itself, as had Same Time, Next Year. However, Ned Tanen began to have second thoughts about proceeding with the production, despite the fact that still another Dudley Moore picture, Arthur, had become a big boxof fice success in 1981. 359 While Universal vacillated, a change was made in the executive suite at United Artists, following its financial debacle with Heaven’s Gate, and a new management team was chosen by Transamerica to operate the company. Norbert Auerbach, who had been in charge of foreign sales for United Artists, was appointed to the presidency of the company succeeding Andy Albeck, who had assumed the office some years earlier after the departure of the Krim group, when they left to form Orion Pictures. I had known Norbert Auerbach for a long time. It was with his father, Josef Auerbach, that Monogram had made the deal to acquire “The Little Rascals” in the 1950s. In the ensuing years, Norbert had enjoyed a successful career, working in foreign distribution for a number of major film companies, until he had risen to the top post in foreign distribution with United Artists. After his appointment as president, I called Norbert to congratulate him, and he asked me if it was possible for us to return to United Artists and make pictures for UA again. This came precisely at the time of my frustration with Universal’s delay on Romantic Comedy, and I told him I thought it might well be possible. Marvin and I arranged to meet him, and from those conversations emerged the outline of a new five-year production and distribution deal for The Mirisch Company to rejoin United Artists. I told Norbert that this deal would, of course, be contingent on my being able to secure a release from our agreement with Universal. For a few years prior to this time, I had become enthusiastic about developing a new picture that had its roots in the success of Midway. It was my idea to have a screenplay written that would revolve around the story of the battle of the Philippine Sea. The battle, often termed “the Marianas Turkey Shoot,” was fought in 1944, toward the end of the Paci fic war, during which the American forces destroyed some 450 Japanese airplanes with a loss of 22 American planes. I heard again all the reasons why making another World War II story was a bad idea, just as if Midway had never been made. Despite all my persuasive efforts, Universal didn’t want to develop it. So, frustrated with this and with the rejection of some other projects, I decided that perhaps the time had come to move on to what might now be more hospitable surroundings with Norbert Auerbach at UA. 360 The 1980s and 1990s / I arranged a meeting with Ned Tanen and told him that since I couldn’t secure approvals from Universal for projects that I wanted to do, I would prefer to move elsewhere. I told him that I hoped he and I could still remain friends. I also asked Ned if I...