Irving Grant Thalberg Net Worth

Irving Grant Thalberg Net Worth is
$3 Million

Irving Grant Thalberg Bio/Wiki, Net Worth, Married 2018

Irving Grant Thalberg (May 30, 1899 – September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and his extraordinary ability to select the right scripts, choose the right actors, gather the best production staff and make hundreds of very profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty and The Good Earth. His films carved out a major international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini.He was born in Brooklyn, NY, and as a child was afflicted with a congenital heart disease that doctors said would kill him before he reached the age of thirty. After graduating high school he took night classes in typing and worked as a store clerk during the day. He then took a job as a secretary at Universal Studios' New York office, and was later made studio manager for their Los Angeles facility, where he oversaw production of a hundred films during his three years with the company. Among the films he produced was The Hunchback of Notre Dame.He then partnered with Louis B. Mayer's studio and, after it merged with two other studios, helped create Metro-Goldwyn-Mayer (MGM). He was made head of production of MGM in 1925, at the age of twenty-six, and after three years MGM became the most successful studio in Hollywood as a result of his supervision. During his twelve years with MGM, until his early death at age 37, he produced four hundred films, most of which bore his imprint, and their production had adapted his innovations. Among those innovations were story conferences with writers, sneak previews to gain early feedback, and extensive re-shooting of scenes to improve the film. In addition, he introduced horror films to audiences and coauthored the “Production Code,” guidelines for morality followed by all studios. During the 1920s and 1930s, he synthesized and merged the world of stage drama and literary classics with Hollywood films.Thalberg created numerous new stars and groomed their screen images. Among those whose stardom was guided by Thalberg were Lon Chaney, Ramon Novarro, John Gilbert, Joan Crawford, Clark Gable, Jean Harlow, Wallace Beery, Luise Rainer, Greta Garbo, Lionel Barrymore, and Norma Shearer, who became his wife. He had the ability to combine quality with commercial success, and was credited with bringing his artistic aspirations in line with the demands of audiences. After his death, Hollywood's producers declared him to have been, despite his young age, "the foremost figure in motion-picture history" throughout the world. President Roosevelt wrote, "The world of art is poorer with the passing of Irving Thalberg. His high ideals, insight and imagination went into the production of his masterpieces."

Date Of Birth	May 30, 1899
Died	1936-09-14
Place Of Birth	Brooklyn, New York City, New York, USA
Height	5' 11" (1.8 m)
Profession	Producer, Writer, Director
Nationality	American
Spouse	Richard Anderson
Star Sign	Gemini

#	Trademark
1	So often referred to solutions for complex problems as "a lead pipe cinch," it became his catchphrase.

#	Quote
1	Novelty is always welcome, but talking pictures are just a fad.
2	[to Louis B. Mayer, regarding Gone with the Wind (1939)] Forget it, Louis. No Civil War picture will make a nickel.
3	Hit a fellow in old clothes with a snowball and it won't mean a thing. But dress a man up in tails and a silk hat and then knock his hat off, and you'll get a laugh.
4	[Instruction to the writers of the updated 'Camille', 1936] The problem of a girl's past ruining her marriage doesn't exist anymore. Whores can make good wives. That has been proven.
5	If they don't want to come to the picture...you can't stop them.
6	A story never looks as good as when the other fellow buys it.
7	[on bringing in director George W. Hill to shoot additional night battle scenes for King Vidor's The Big Parade (1925)] Movies aren't made, they're remade.
8	[Screenwriter Charles MacArthur, who was a close friend, commenting on why Thalberg never took a producer's credit on his films] Entertainment is Thalberg's god. He's content to serve him without billing.
9	Credit you give yourself is not worth having. Thalberg would not allow his name on his pictures; the one exception being The Good Earth (1937), posthumously.

#	Fact
1	In her December 1972 interview to Leonard Maltin in Film Fan Monthly, Madge Evans gives the following testimony about Thalberg's methods: "The only time you really ever had any sense of rehearsal was in a Thalberg film. It wasn't that there were any advance rehearsals, but he would come on the set and watch rehearsals, and then there would be great conferences while the actors sat around. He was a very quiet man; he would confer with the director, then the director would come back and the scene would be redirected. One film I made that Thalberg did was 'What Every Woman Knows' with Helen Hayes. We'd been shooting for about six or seven days and he stopped production because he didn't like the wardrobe that Adrian had designed. Everything was thrown out and we all made clothes tests. Then we went home and when they were ready, they called us.".
2	Film historian Bob Thomas on Thalberg: He was a creative producer, etc., but he was determined to turn out 52 pictures a year.".
3	Critic Dwight MacDonald on Thalberg: "... in the country of the blind, Schary and Thalberg were literate compared to others, were mistaken for Goethes... A Thalberg is to an actual movie what a hamburger is to an actual steak.".
4	Critic Graham Greene n reviewing "Romeo and Juliet": "... not a producer of uncommon talents.".
5	Writer Budd Schulberg on Thalberg: "He had the accouterments of an artist; he was like a young pope.".
6	Film writer Heywood Gould on Thalberg: "Perhaps only foreigners could have seen America through the worshipful, distorted prism of an immigrant's sensibility. Only an immigrant could idealize the homely fortitude of Tom Mix, the cherry pie goodness of Mary Pickford; only an outsider could be taken with a popular culture that many Amerians considered beneath contempt... The mixture of opulence , melodrama, intrigue, mass culture for the masses... It was Thalberg's personality, not his oeuvre, that created the legend. He had a retailer's mind and contempt for those who worked for him.".
7	Cousin of Louis M. Heyward.
8	Writer Charles MacArthur said about him, "He's too good to last. The lamb doesn't lie down with the lion for long.".
9	On the evening of his death, during the live performance of Lux Radio Theater, "Quality Street", Cecil B. DeMille announced of the passing of Irving Thalberg and offered 10 seconds of silence in tribute.
10	He was reportedly the person who created the term "film editor" as opposed to simply "cutter." He first applied the term to Margaret Booth.
11	Was a notorious hard worker, often putting in 12-hour workdays. He was also notorious for running behind schedule with his appointments. Actors, directors, writers and others would wait days if not weeks on the bench outside of his office before finally meeting face-to-face with Thalberg. Writer George S. Kaufman once quipped about that famous bench that on a clear day you can see Thalberg.
12	Is portrayed by Robert Evans in Man of a Thousand Faces (1957)
13	The father of two daughters, Metro-Goldwyn-Mayer Vice President-Production Louis B. Mayer originally thought of Thalberg, his production chief, as a son, but Thalberg's ambitions and his view of himself as the man behind the success of MGM eventually brought them into conflict. After Thalberg's 1933 heart-attack forced the young executive to take a long vacation, Mayer introduced a producer system he likened to a college of cardinals to replace Thalberg as the central producer. When Thalberg returned to MGM, he became just an ordinary producer, albeit one who had first choice on projects and MGM resources, including its stars, due to his closeness to Nicholas Schenck, the president of MGM corporate parent Loews's Inc. Schenck, who was the true power and ultimate arbiter at the studio, usually backed up Thalberg. Some Hollywood observers believe that Mayer was relieved by Thalberg's untimely death, though he professed a great deal of grief publicly and likely was saddened by his former mentor's demise as Thalberg had been instrumental in building MGM into the greatest studio in Hollywood and the world.
14	Is portrayed by John Rubinstein in The Silent Lovers (1980)
15	Contracted rheumatic fever at the age of 17, and the prognosis was negative. His mother, Henrietta, ignored the physicians' opinions and sent Irving back to high school to finish up and get his diploma.
16	After director King Vidor complained to Thalberg that he was tired of shooting pictures that played in theaters for just one week, he told him about a new kind of realistic war movie he had envisioned. Thalberg was enthusiastic about Vidor's vision, and tried to buy the rights to the hit Broadway play "What Price Glory?" co-written by Maxwell Anderson and World War I Marine veteran Laurence Stallings. Since the rights to the popular anti-war play had already been acquired, he hired Stallings to come to Hollywood and write a screenplay for the new, realistic war picture that Vidor had dreamed about making. Stallings came up with The Big Parade (1925), an anti-war film that dispensed with traditional concepts of heroism, focusing instead on a love story between a Yank soldier and a French girl. After Vidor completed principal photography, Thalberg took the rough cut and previewed it before live audiences in Colorado. Although the audiences responded favorably, Thalberg decided to expand the scope of the picture, as Vidor had created a war picture without many war scenes. He had Vidor restage the famous marching army column sequence with 3,000 extras, 200 trucks and 100 airplanes, adding about $45,000 to the negative cost of the film. After Vidor moved on to another project, Thalberg had other battle scenes shot by director George W. Hill. The result was a classic, a major hit that proved to be MGM's most profitable silent picture. "The Big Parade" was an example of Thalberg's perfectionism as a managing producer.
17	After a preview of the Marie Dressler-Wallace Beery picture Tugboat Annie (1933), Thalberg asked director Mervyn LeRoy if a scene could be improved by making Beery's shoes squeak. LeRoy agreed, but detailed how it would be economically prohibitive to reshoot the scene as the sets had been dismantled and the cast had dispersed. Thalberg responded, "Mervyn, I didn't ask you how much it would cost, I asked you whether it would help the picture." The scene was reshot, an example of Thalberg's perfectionism.
18	Took a screen credit only once in his lifetime: He credited himself as "I.R. Irving" for the screenplay he wrote for The Dangerous Little Demon (1922).
19	On the day of his funeral, MGM closed for the entire day, and every Hollywood studio shut down operations for five minutes of silence at 10:00 AM PST. Such honors were rare, but Marie Dressler and Jean Harlow received similar consideration.
20	Owing to Thalberg's habit in his lifetime of not seizing the spotlight for himself, Hollywood's memorials to him after his death were relatively sedate, although heartfelt. MGM renamed their administration facility the Thalberg Building, and the Academy of Motion Picture Arts & Sciences created the Thalberg Award to acknowledge "Creative producers, whose bodies of work reflect a consistently high quality of motion picture production."
21	Had two children, Irving, Jr. and Katherine. As adults, Irving, Jr. became a professor of philosophy at the University of Illinois at Chicago, and Katherine owned a bookstore in Colorado.
22	Before marrying Norma Shearer, he was romantically linked to Rosabelle Laemmle (daughter of film mogul Carl Laemmle), actress Constance Talmadge and socialite Peggy Hopkins Joyce.
23	Brother-in-law of Douglas Shearer and Athole Shearer, son-in-law of Edith Shearer.
24	Interred at Forest Lawn, Glendale, California, USA, in the Great Mausoleum, Sanctuary of Benediction, end of the hall, on the left hand side, the very last private room marked "Thalberg."
25	One of the 36 founders of the Academy of Motion Picture Arts and Sciences (AMPAS)
26	The character of Monroe Stahr, the hero of F. Scott Fitzgerald's final novel ("The Last Tycoon ) was based on him. Fitzgerald also based the story "Crazy Sunday", on a party he attended at his home.

Producer

Title	Year	Status
Marie Antoinette	1938	producer - uncredited
Broadway Melody of 1938	1937	executive producer - uncredited
A Day at the Races	1937	producer - uncredited
Maytime	1937	executive producer - uncredited
The Good Earth	1937	executive producer - uncredited
Camille	1936	producer - uncredited
Romeo and Juliet	1936	producer - uncredited
Riffraff	1936	executive producer - uncredited
A Night at the Opera	1935	executive producer - uncredited
Mutiny on the Bounty	1935	producer - uncredited
China Seas	1935	executive producer - uncredited
No More Ladies	1935	producer - uncredited
La veuve joyeuse	1935	producer
Biography of a Bachelor Girl	1935	producer - uncredited
What Every Woman Knows	1934	executive producer - uncredited
The Merry Widow	1934	producer - uncredited
Outcast Lady	1934	executive producer - uncredited
The Barretts of Wimpole Street	1934	producer - uncredited
Riptide	1934	producer - uncredited
Eskimo	1933	producer - uncredited
Tugboat Annie	1933	producer - uncredited
Rasputin and the Empress	1932	executive producer - uncredited
Red Dust	1932	producer - uncredited
Smilin' Through	1932	producer - uncredited
Strange Interlude	1932	producer - uncredited
Red-Headed Woman	1932	producer - uncredited
As You Desire Me	1932	producer - uncredited
Letty Lynton	1932	executive producer - uncredited
Grand Hotel	1932/I	producer - uncredited
Tarzan the Ape Man	1932	executive producer - uncredited
Freaks	1932	producer - uncredited
Mata Hari	1931	producer - uncredited
Private Lives	1931	producer - uncredited
Possessed	1931	producer - uncredited
The Champ	1931/I	producer - uncredited
The Guardsman	1931	producer - uncredited
The Sin of Madelon Claudet	1931	producer - uncredited
Menschen hinter Gittern	1931	producer
Just a Gigolo	1931	executive producer - uncredited
A Free Soul	1931	executive producer - uncredited
The Secret Six	1931	producer - uncredited
Trader Horn	1931	producer - uncredited
Inspiration	1931	producer - uncredited
A Lady's Morals	1930	producer - uncredited
Way for a Sailor	1930	producer - uncredited
Billy the Kid	1930	producer - uncredited
Let Us Be Gay	1930	producer - uncredited
The Unholy Three	1930	producer - uncredited
The Big House	1930	producer - uncredited
The Rogue Song	1930	producer - uncredited
The Divorcee	1930	producer - uncredited
Redemption	1930	producer - uncredited
Anna Christie	1930/I	producer - uncredited
The Kiss	1929	producer - uncredited
His Glorious Night	1929	producer - uncredited
Hallelujah	1929	producer - uncredited
The Last of Mrs. Cheyney	1929	producer - uncredited
The Hollywood Revue of 1929	1929	producer - uncredited
Where East Is East	1929	producer - uncredited
The Voice of the City	1929	producer - uncredited
The Trial of Mary Dugan	1929	producer - uncredited
The Broadway Melody	1929	producer - uncredited
West of Zanzibar	1928	producer - uncredited
Show People	1928	producer - uncredited
White Shadows in the South Seas	1928	producer - uncredited
The Adventurer	1928	producer - uncredited
Laugh, Clown, Laugh	1928	producer
The Crowd	1928	producer - uncredited
London After Midnight	1927	producer - uncredited
The Student Prince in Old Heidelberg	1927	executive producer - uncredited
Twelve Miles Out	1927	producer - uncredited
Flesh and the Devil	1926	producer - uncredited
Valencia	1926	producer - uncredited
The Temptress	1926	producer - uncredited
The Road to Mandalay	1926	producer
Brown of Harvard	1926	producer - uncredited
La Bohème	1926	producer - uncredited
Torrent	1926	producer - uncredited
Ben-Hur: A Tale of the Christ	1925	producer - uncredited
The Big Parade	1925	producer - uncredited
The Tower of Lies	1925	producer
The Merry Widow	1925	producer - uncredited
The Unholy Three	1925	producer - uncredited
Greed	1924	producer - uncredited
He Who Gets Slapped	1924	producer - uncredited
His Hour	1924	producer - uncredited
The Hunchback of Notre Dame	1923/I	producer - uncredited
Merry-Go-Round	1923	producer
Foolish Wives	1922	producer - uncredited
Reputation	1921	producer - uncredited

Writer

Title	Year	Status	Character
The Trap	1922	story
The Dangerous Little Demon	1922	as I.R. Irving

Director

Title	Year	Status	Character
Queen Kelly	1929	uncredited

Thanks

Title	Year	Status	Character
Goodbye, Mr. Chips	1939	we wish to acknowledge here our gratitude to, whose inspiration illuminates the picture of "Goodbye, Mr. Chips". James Hilton, Victor Saville, Sam Wood, Sidney a Franklin, RC Sherriff, Claudine West, Eric Maschwitz - as the late Irving Thalberg
The Good Earth	1937	we dedicate this picture to the memory of - as Irving Grant Thalberg

Self

Title	Year	Status	Character
1925 Studio Tour	1925	Documentary short	Himself - MGM Associate Executive

Archive Footage

Title	Year	Status	Character
Short and Spicy Skits from the Other Side of Hollywood: The Home Movies of William Randolph Hearst	2013	Short	The Chased
Garbo	2005	Documentary	Himself
Irving Thalberg: Prince of Hollywood	2005	TV Movie documentary	Himself
So Funny It Hurt: Buster Keaton & MGM	2004	TV Movie documentary	Himself
On Your Marx, Get Set, Go!	2004	Video documentary short	Himself (photo)
Checking Out: Grand Hotel	2004	Video documentary short	Himself - Producer
Biography	2003	TV Series documentary	Himself
Complicated Women	2003	TV Movie documentary	Himself (uncredited)
The Kid Stays in the Picture	2002	Documentary	Himself
Greta Garbo: A Lone Star	2001	TV Movie documentary	Himself (uncredited)
Captured on Film: The True Story of Marion Davies	2001	TV Movie documentary	Himself (uncredited)
Without Lying Down: Frances Marion and the Power of Women in Hollywood	2000	TV Movie documentary	Himself (uncredited)
Lon Chaney: A Thousand Faces	2000	TV Movie documentary	Himself (uncredited)
Hollywoodism: Jews, Movies and the American Dream	1998	TV Movie documentary	Himself
Frank Capra's American Dream	1997	TV Movie documentary	Himself
The First 100 Years: A Celebration of American Movies	1995	TV Movie documentary	Himself
Ben-Hur: The Making of an Epic	1993	Video documentary	Himself (uncredited)
The Unknown Marx Brothers	1993	TV Movie documentary	Himself
MGM: When the Lion Roars	1992	TV Mini-Series documentary	Himself
Greta Garbo: The Temptress and the Clown	1986	TV Movie documentary	Himself
Hollywood	1980	TV Mini-Series documentary	Himself
Hollywood: The Dream Factory	1972	TV Movie documentary	Himself - film clips
Cavalcade of the Academy Awards	1940	Documentary short	Himself

Won Awards

Year	Award	Ceremony	Nomination	Movie
2008	OFTA Film Hall of Fame	Online Film & Television Association	Creative
1960	Star on the Walk of Fame	Walk of Fame	Motion Picture	On 8 February 1960. At 7006 Hollywood Blvd.
1935	Medal of Honor	Photoplay Awards		The Barretts of Wimpole Street (1934)
1933	Medal of Honor	Photoplay Awards		Smilin' Through (1932)
1926	Medal of Honor	Photoplay Awards		The Big Parade (1925)

Known for movies

Source

Irving Grant Thalberg Net Worth

Irving Grant Thalberg Net Worth is
$3 Million