Lew Wasserman

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Lewis Robert Wasserman (March 22, 1913 – June 3, 2002) was an American talent agent, business executive, and studio executive who has been described as "the last of the legendary movie moguls" and "arguably the most powerful and influential Hollywood titan in the four decades after World War II." His career in show business spanned nearly eight decades, beginning as a cinema usher before he dropped out of high school and rising to become the president and later chairman and CEO of MCA Inc., which he transformed from a music booking agency into a diversified entertainment conglomerate that owned Universal Pictures. Wasserman "brought about changes in virtually every aspect of show business," including pioneering the practice of paying actors a percentage of film profits rather than fixed salaries, fundamentally transforming the economics of Hollywood.

During his tenure at MCA, Wasserman represented and managed relationships with some of the biggest names in entertainment, including Bette Davis, Ronald Reagan, James Stewart, and many others. He was an influential power broker whose relationships extended from Hollywood studios to the White House, maintaining close friendships with Presidents Lyndon B. Johnson, Ronald Reagan, and Bill Clinton. In 1995, he was awarded the Presidential Medal of Freedom by President Clinton. Jack Valenti, whom Wasserman hand-picked to lead the Motion Picture Association of America, famously said of him: "If Hollywood is Mount Olympus, Lew Wasserman is Zeus."

Early Life and Family Background

Russian Jewish Heritage

Lewis Robert Wasserman was born on March 22, 1913, in Cleveland, Ohio, to a Jewish family of Russian origin. His father, Isaac Wasserman, and mother, Minnie Chernick, were both emigrants from Russia who had settled in the Cleveland area as part of the wave of Jewish immigration to America in the late nineteenth and early twentieth centuries. The family struggled financially during Lew's childhood, experiences that would shape his legendary drive and work ethic throughout his career.

The Jewish immigrant community of Cleveland during this period was vibrant but economically challenged. Families like the Wassermans worked to establish themselves in America while maintaining their cultural and religious traditions. The experience of growing up in modest circumstances left an indelible mark on young Lew, instilling in him an understanding of the value of hard work and the determination to achieve financial security.

Hardscrabble Childhood

Wasserman's entry into the entertainment business began remarkably early. At age 12, he was selling candy in a Cleveland burlesque house, learning at a young age how to navigate the world of show business and handle customers. This early exposure to the entertainment industry, however marginal, planted seeds that would flower into one of the most remarkable careers in Hollywood history.

By age 15, Wasserman had taken a job as a theater usher, working grueling hours from 3 p.m. to midnight, seven days a week. This demanding schedule, which he maintained while still a teenager, demonstrated the work ethic that would define his career. The theater environment also gave him firsthand knowledge of what audiences wanted and how the entertainment business operated at the ground level.

Financial necessity eventually forced Wasserman to drop out of high school, a decision that would have seemed to limit his opportunities but instead propelled him into full-time work in the entertainment industry. His lack of formal education never hindered his career; if anything, it contributed to his street-smart approach to business and his understanding of practical realities over theoretical concepts.

Rise at MCA

Jules Stein and the Music Corporation of America

The Music Corporation of America (MCA) was founded in 1924 by Jules Stein and William R. Goodheart, Jr. as a music booking agency based in Chicago. Stein, who had worked his way through medical school at the University of Chicago by playing violin and saxophone with a band, discovered that booking other bands was more profitable than performing. When his own band began generating more bookings than it could handle, Stein began booking other groups, eventually abandoning his budding ophthalmology career to focus on the entertainment business.

MCA revolutionized the band booking business. At the time, most bands played under their bookers' names rather than their own. Stein changed this practice, billing bands under their leaders' names in exchange for exclusive representation rights. This approach benefited both the musicians, who built their own followings, and MCA, which earned commissions on increasingly valuable contracts. With just $1,000 in startup capital, MCA grossed more than $30,000 in its first year.

The agency's early years were closely intertwined with Chicago's nightlife and, inevitably, with organized crime. In Capone-era Chicago, it would have been impossible to do significant band booking without accommodating the mob, which controlled many clubs and speakeasies. MCA booked prominent artists like King Oliver and Jelly Roll Morton for venues run by notorious figures including Al Capone. Stein treated the mob as simply a fact of life in the profession, an approach that Wasserman would later continue.

Joining MCA

Lew Wasserman joined MCA in 1936 at the age of 23, spotted by Jules Stein who recognized his talent and drive. Stein initially hired Wasserman to run the company's advertising and publicity departments in Chicago. Despite his youth, Wasserman developed rapidly into MCA's top agent, demonstrating an aptitude for deal-making and relationship-building that far exceeded his years.

In 1936, Wasserman helped create one of MCA's early successes, the radio show "Kay Kyser's Kollege of Musical Knowledge," which debuted on NBC Radio. The show's success demonstrated Wasserman's understanding of radio's potential and his ability to create programming that attracted audiences.

Following this success, Stein installed Wasserman in New York City in 1937, but Wasserman convinced his mentor that Hollywood was the best place for the company's growth. This strategic insight—recognizing that the future of entertainment lay in the movie capital rather than the radio center—demonstrated Wasserman's visionary thinking. The move to Hollywood would prove transformative for both Wasserman and MCA.

Dominating Hollywood Representation

Under Wasserman's leadership, MCA branched out from representing musicians to representing actors and actresses, in the process helping to create the star system that would drive up prices for studios. Initially, MCA struggled to gain ground in Hollywood since major agencies like those belonging to Charles Feldman, Myron Selznick, and Leland Hayward had already secured most of the major talent.

The breakthrough came in the mid-1940s when MCA purchased Leland Hayward's agency, finally gaining the bargaining leverage it needed with the studios. This acquisition brought major talent into the MCA fold and established the agency as a serious competitor in the Hollywood representation business. By the end of the 1930s, MCA had become the largest talent agency in the world, with over 700 clients including movie stars, recording artists, Broadway actors, radio stars, and directors.

The company's aggressive acquisition of talent across all entertainment sectors earned MCA the nickname "The Octopus"—a reflection of its far-reaching tentacles throughout the industry. Wasserman became the driving force behind this expansion, building relationships with talent and studio executives alike while orchestrating deals that benefited MCA and its clients.

President of MCA

Jules Stein, who had already identified Wasserman as his successor, appointed him president of MCA in December 1946. At just 33 years old, Wasserman became the head of Hollywood's most powerful talent agency, a position he would use to reshape the entertainment industry over the following decades.

As president, Wasserman expanded upon business practices established by earlier agents, but took them to unprecedented scale and sophistication. He understood that the post-war entertainment landscape was changing rapidly, with the decline of the studio system creating opportunities for talented agents to accumulate power that had previously resided with the studios themselves.

Revolutionary Business Practices

The Percentage Deal

Wasserman's most significant innovation in talent representation was his pioneering use of percentage deals, wherein actors received a share of a film's profits rather than a fixed salary. This approach, which had precedents in the work of earlier agents, was elevated by Wasserman into a standard practice that fundamentally changed Hollywood economics.

In the late 1930s, agents like Charles Feldman and Myron Selznick had realized that actors could pay significantly less tax by incorporating themselves. The corporation, which employed the actor, could own a portion of the motion picture in which the actor appeared, with all monies accruing to the corporation at a lower tax rate than personal income.

Wasserman took this concept further with his landmark deal for actor James Stewart on the 1950 western "Winchester '73." Rather than accepting a $250,000 upfront salary that Universal couldn't afford to pay, Wasserman negotiated for Stewart to receive 50 percent of the film's profits after costs. The deal also gave Stewart unusual creative control, including director and co-star approval.

The Winchester '73 Deal

The "Winchester '73" deal marked the first time an onscreen talent ever received "points in the film" in the modern sense—a business practice that would skyrocket after Wasserman's negotiation and Stewart's ensuing success. The film was successful, and Stewart ultimately made $600,000—far more than his original asking price.

Paired with "Harvey," the second film in Wasserman's deal for Stewart, the actor joined the exclusive club of performers who had earned a million dollars in a single year. More importantly, the deal demonstrated to Hollywood that percentage arrangements could benefit both talent and studios: stars were incentivized to participate in films they believed would succeed, while studios reduced their upfront financial risk.

The Winchester '73 precedent contributed significantly to the demise of long-term studio contracts and the studio system itself. As percentage deals became industry standard, actors gained leverage and independence that would have been unthinkable in the earlier studio era. Wasserman, who had reshaped the industry through this single deal, would continue to benefit as other agents copied his approach.

Film Packaging

Wasserman expanded upon another practice established by earlier agents: film packaging. Since studios reduced output after World War II and let more actors out of long-term contracts, big agencies like MCA could negotiate stronger terms for their clients. Agents like Wasserman would pitch complete packages—a writer client, director client, and actor or actress—to studios who then needed only to finance the project.

In this way, agencies began to assume responsibilities previously held by studios—namely, assembling the creative elements for films. Studios appreciated receiving pre-assembled, theoretically bankable commodities, while agencies accumulated power through their control of multiple elements simultaneously. Wasserman and MCA became masters of this approach, leveraging their deep roster of talent to create packages that studios found difficult to resist.

The packaging approach would later be further refined by Michael Ovitz at Creative Artists Agency, but its foundations were laid by Wasserman and MCA in the decades following World War II. By controlling access to multiple key creative elements, agencies could effectively dictate terms to studios and ensure that their clients received favorable treatment.

The Reagan Connection

Representing Ronald Reagan

Among Wasserman's most significant client relationships was his representation of actor Ronald Reagan, who would later become Governor of California and President of the United States. Wasserman began representing Reagan while he was still a contract player at Warner Brothers, eventually becoming instrumental in the actor's transformation from movie star to political figure.

In 1940, Wasserman renegotiated Reagan's Warner Brothers contract, significantly improving his terms. As Reagan's career evolved, Wasserman continued to advocate for his interests, eventually making Reagan MCA's first million-dollar client. When Reagan's film career began to decline after World War II—industry insiders found him "a little corny, always telling the same stories"—Wasserman saw continued potential where others did not.

The Screen Actors Guild Presidency

In 1947, Wasserman not only urged Reagan to run for the presidency of the Screen Actors Guild (SAG) but helped orchestrate his election to that position. This move proved pivotal for both men. For Reagan, it launched his career in organizational leadership that would eventually lead to politics. For Wasserman and MCA, it created an extraordinary opportunity.

As television boomed in the 1950s, MCA established Revue Productions as its television production arm. The Screen Actors Guild had a ban against talent agencies also becoming producers, viewing such dual roles as a conflict of interest. However, Wasserman negotiated a waiver from SAG—whose president was Ronald Reagan, also an MCA client—that allowed MCA uniquely to operate as both agency and producer.

This waiver, which no other agency received, gave MCA an extraordinary competitive advantage. The company could produce television content while simultaneously representing the talent who appeared in it, capturing profits at multiple points in the value chain. The arrangement would later attract scrutiny from the Justice Department, but for years it enabled MCA's rapid growth and diversification.

Lifelong Friendship

Despite being "an influential player and fundraiser in the Democratic Party," Wasserman maintained a lifelong friendship with Reagan that continued through Reagan's years in the California statehouse and the White House. The relationship transcended politics, based on decades of mutual support and shared experiences in the entertainment industry.

Critics, including investigative journalist Dan Moldea in his book "Dark Victory: Ronald Reagan, MCA, and the Mob," have argued that the Wasserman-Reagan relationship involved mutual favors that extended beyond normal agent-client interactions. The SAG waiver that enabled MCA's production business, granted while Reagan led the union, has been cited as evidence of this alleged quid pro quo relationship.

Regardless of how one interprets the relationship, its significance is undeniable. Wasserman's mentorship helped launch Reagan's leadership career, while Reagan's union presidency enabled MCA's expansion into production. The two men remained close throughout their lives, representing an unusual bridge between Hollywood and Republican politics.

Building the MCA Empire

Television Dominance

Following the rising postwar popularity of television and the resulting financial struggles of many movie studios, Wasserman recognized that television represented the future of entertainment. Through Revue Productions, enabled by the controversial SAG waiver, MCA became one of the largest television producers in the industry.

Revue produced numerous successful television series throughout the 1950s and 1960s, establishing MCA as a major force in the medium. The company's dual role as both agency and producer proved enormously profitable, though it also attracted increasing regulatory scrutiny. MCA's television production success generated revenues that would later enable its acquisition of Universal Pictures.

Acquisition of Universal and Decca

In 1962, Wasserman orchestrated MCA's purchase of Universal Studios and Decca Records, merging them into the MCA corporate structure. This acquisition transformed MCA from a talent agency and production company into a diversified entertainment conglomerate with studio facilities, film and television libraries, and recorded music operations.

The same year, under pressure from the Justice Department, MCA was forced to choose between its talent agency and production businesses. The company chose to exit the agency business, selling off that operation to focus on production and studio ownership. While this ended MCA's role as a talent agency, it allowed the company to concentrate on building Universal into a major studio.

Installing Jack Valenti

In 1966, Wasserman single-handedly installed Jack Valenti as head of the Motion Picture Association of America (MPAA), the trade association that represented the major Hollywood studios. Valenti, who had served as a special assistant to President Lyndon B. Johnson, became one of the longest-serving and most influential MPAA presidents in history.

Together, Wasserman and Valenti orchestrated and controlled much of how Hollywood operated and was allowed to do business for the next several decades. Valenti's lobbying efforts in Washington served the interests of the studios, while Wasserman continued to exercise influence through his position at MCA/Universal. The partnership exemplified Wasserman's ability to project power beyond his company into the broader industry structure.

Chairman and CEO

Wasserman served as chairman and CEO of MCA from 1973 until 1995, presiding over the company's transformation into a major entertainment conglomerate. Under his leadership, MCA's value grew dramatically. When Wasserman became chairman in 1973, MCA was valued at approximately $160 million; by 1985, Forbes estimated its net worth at $3.6 billion.

Throughout this period, Wasserman maintained hands-on involvement in the business, including relationships with talent and oversight of major productions. His work ethic remained legendary, with associates describing his attention to detail and his insistence on being informed about every aspect of MCA's operations.

The Sale to Matsushita

The $6.6 Billion Deal

In 1990, Wasserman oversaw the sale of MCA to Japanese consumer electronics conglomerate Matsushita Electric for $6.6 billion, at the time the largest Japanese acquisition of an American company. The deal was brokered in part by Michael Ovitz, the CAA founder who had emulated many of Wasserman's practices in building his own agency.

Wasserman personally received substantial compensation from the sale, with various estimates suggesting he received stock worth approximately $30 million per year in dividends in return for his five million MCA shares. He also agreed to a five-year contract that reportedly paid a $3 million annual salary, and reportedly pocketed approximately $350 million total from the transaction.

Diminished Role

Under Matsushita ownership, Wasserman remained as chairman, but with vastly diminished power and influence. The Japanese conglomerate's management style clashed with Hollywood traditions, and Wasserman found himself increasingly marginalized in the company he had built. The cultural differences between Matsushita's conservative Japanese corporate culture and MCA's entertainment industry ethos created ongoing tensions.

When Seagram bought controlling interest in MCA/Universal in 1995, Wasserman's role became even more marginalized. He served on the board of directors until 1998 but no longer exercised the kind of influence he had enjoyed during his decades running the company. The Seagram era marked the definitive end of Wasserman's operational involvement in the entertainment industry.

Near-Miss Disney Acquisition

One of the most intriguing "what-ifs" of entertainment industry history involves Wasserman's near-acquisition of The Walt Disney Company in 1984. According to Connie Bruck's book "When Hollywood Had a King," MCA held serious talks about acquiring Disney when that company was trying to repel the advances of corporate raider Saul Steinberg.

The deal collapsed over a personnel issue. The Disney family insisted that Ron Miller, a Disney executive (and Walt Disney's son-in-law), had to become president of the combined company. MCA president Sid Sheinberg was willing to accept this condition, and investment banker Felix Rohatyn advised Wasserman to proceed, confident that Miller could be removed within a year. But Wasserman refused, insisting that Sheinberg would remain president.

Barry Diller, who learned the story from principals involved, later reflected: "It was Lew's inflexibility that caused him to blow deals he should not have blown. He and Jules had built the best company – they should have owned the world. And had they made this deal with Disney, everything would have been different."

Political Connections

Democratic Party Fundraiser

Throughout his career, Wasserman was an influential player and fundraiser in the Democratic Party, despite his close friendship with Republican Ronald Reagan. His political connections extended to the highest levels of government, and his fundraising abilities made him one of Hollywood's most important political figures.

The Newsmeat Power Rankings identified Wasserman and his close friend Jack Valenti as two of the top five "most famous and powerful Americans whose campaign contributions result most often in victory." This metric reflected both the size of Wasserman's contributions and the sophistication of his political targeting.

Presidential Relationships

Wasserman maintained close relationships with multiple presidents across party lines. He was particularly close to Lyndon B. Johnson, with whom he developed a friendship during the 1960s. His relationship with Bill Clinton began when Clinton was still a little-known Arkansas governor, and Wasserman was among the first Hollywood executives to recognize Clinton's presidential potential.

The relationship with Ronald Reagan, spanning from Reagan's acting career through his presidency, represented perhaps Wasserman's most remarkable political connection. Despite their different party affiliations, the two men maintained a friendship that lasted until Reagan's decline from Alzheimer's disease and Wasserman's death.

Presidential Medal of Freedom

On September 29, 1995, Wasserman was presented with the Presidential Medal of Freedom by President Bill Clinton, the nation's highest civilian honor. The award recognized Wasserman's contributions to the entertainment industry and his philanthropic activities over many decades.

The ceremony marked a culminating recognition of Wasserman's extraordinary career. From a high school dropout working as a theater usher in Cleveland, he had risen to receive the highest honor the President of the United States could bestow on a civilian. The award captured both his professional achievements and his contributions to American culture and society.

Universal CityWalk and Later Projects

Creating CityWalk

In 1993, Wasserman created Universal CityWalk, a major shopping and entertainment development adjacent to Universal Studios Hollywood. The project reflected Wasserman's vision that Universal City could become the cultural and commercial hub of the San Fernando Valley, analogous to how Disneyland had become the de facto center of Orange County.

Wasserman had first explored the idea of adding a shopping and entertainment center to Universal City in the 1960s but set it aside. Twenty-five years later, he revisited the concept, hiring architect Jon Jerde in 1989 to draft a master plan for the property. The resulting CityWalk development combined retail, dining, and entertainment venues in an outdoor pedestrian environment.

Wasserman was reportedly intensely proud of CityWalk, personally reviewing the restaurant tallies showing lunches and dinners served and sharing the numbers with visitors. The development demonstrated that Universal City could be more than a film and television production facility—it could be a destination in its own right.

Universal Studios Theme Parks

Under Wasserman's leadership, Universal expanded its theme park operations significantly. The success of Universal Studios Hollywood as a tourist attraction led to the development of Universal Studios Florida, which opened in Orlando in 1990. The Florida park challenged Disney's dominance in the Orlando tourism market and established Universal as a major player in the theme park industry.

In the New York section of Universal Studios Florida, a statue of Wasserman stands with an accompanying plaque, honoring the man who essentially built the park. The statue is routinely decorated for various events, including Halloween Horror Nights, serving as a reminder of Wasserman's role in Universal's theme park expansion.

Personal Life

Marriage to Edie Beckerman

Wasserman married Edith "Edie" Beckerman in 1936, the same year he joined MCA. Born on November 4, 1915, in Cleveland, Edie came from a family connected to both entertainment and the less savory aspects of Cleveland business—her father was a lawyer whose clients included Sophie Tucker and Guy Lombardo, and who also served as attorney for Moe Dalitz, head of the Jewish mob in Cleveland.

The Wasserman marriage lasted nearly 66 years, until Lew's death in 2002, making them one of Hollywood's most enduring couples. Steven Spielberg described them as "as close to royalty as anyone ever gets in this country." Edie was widely recognized as "the power behind his throne," providing personal and social support that complemented Lew's professional activities.

Edie Wasserman became a major Hollywood philanthropist in her own right, demonstrating a steadfast commitment to charitable causes and serving on numerous boards. She survived her husband by nine years, dying on August 18, 2011, at the age of 95 in Beverly Hills.

Family

The Wassermans had one child, a daughter named Lynne Kay Wasserman. Lynne first married MCA agent Ron Leif, with whom she had a daughter, Carol Ann Leif, who became a stand-up comedian. Lynne and Ron later divorced.

In 1970, Lynne married stockbroker Jack Meyerowitz. They changed their surname to Myers and had a son, Casey Wasserman. This marriage also ended in divorce.

Grandson Casey Wasserman

Casey Wasserman has carried on the family name in the entertainment and sports industries. He founded Wasserman Media Group (WMG) in 1998, building it into a major sports and entertainment agency. Casey also serves as president and chief executive officer of the Wasserman Foundation, the charitable organization founded by his grandparents in 1952.

Lew Wasserman was deeply involved in Casey's upbringing and education. Until his death, Lew breakfasted with Casey every weekend at Nate 'n' Al's, the famed Beverly Hills delicatessen, using these meetings to impart life lessons and business wisdom. Casey enjoyed extraordinary access to the entertainment world through his grandfather—at age 10, he helped carry the Olympic torch at the 1984 Los Angeles Summer Olympics, and at 18, when he wanted tickets to a sold-out Guns N' Roses concert, his grandfather told him to call David Geffen.

Casey Wasserman accepted the star on the Hollywood Walk of Fame on behalf of the family when his grandfather was honored posthumously in 2007.

Goddaughter Jamie Lee Curtis

Actress Jamie Lee Curtis is Lew Wasserman's goddaughter, reflecting the close relationships between entertainment industry families during the era when Wasserman dominated Hollywood. Curtis's parents, Tony Curtis and Janet Leigh, were prominent figures in the industry during the 1950s and 1960s.

Philanthropy

The Wasserman Foundation

Lew and Edie Wasserman founded the Wasserman Foundation in 1952 in Beverly Hills, establishing a vehicle for their charitable giving that has continued under family leadership to the present day. The foundation has supported numerous causes over the decades, reflecting the Wassermans' broad philanthropic interests.

Motion Picture & Television Fund

The Wassermans demonstrated particular commitment to the Motion Picture & Television Fund (MPTF), an organization that provides assistance to entertainment industry workers in need. Edie served for years on the MPTF board of directors and co-chaired a committee that raised $35 million in the early 1990s for expansion of the Fund's Motion Picture Country Home for retired industry workers.

The couple was instrumental in raising $50 million for the fund in the 1980s, and the MPTF's Los Angeles campus in Woodland Hills is named after them in recognition of their contributions. During Edie's board tenure, the MPTF raised more than $100 million. The Wassermans' donations to the cause exceeded $11.6 million over the years, with a single $5 million gift in 1991.

Education and Scholarships

The Wassermans' inability to afford college during the Depression inspired them to fund scholarship programs at six major universities, helping ensure that talented students would not face the educational barriers they had experienced. In 1998, the couple gave $10 million to UCLA specifically earmarked for scholarships.

This commitment to education represented one of the most personal aspects of the Wassermans' philanthropy. Having achieved success without the benefit of higher education, they nonetheless recognized its importance and sought to remove financial barriers for deserving students.

Other Charitable Causes

While Lew focused on running Hollywood, Edie became a leader in supporting numerous Los Angeles institutions. Their philanthropic portfolio included the Music Center, CalArts, Cedars-Sinai Medical Center, and many other organizations. Edie's fundraising efforts contributed significantly to the cultural and healthcare infrastructure of Los Angeles.

Controversies

Mob Connections

Throughout his career, Wasserman faced allegations of connections to organized crime, reflecting the entertainment industry's historical ties to the mob and the specifically documented relationships between MCA and organized crime figures in Chicago during the agency's early years.

Dan Moldea's book "Dark Victory: Ronald Reagan, MCA, and the Mob" (which inspired a 2017 TV documentary) argued that Wasserman served as a link between the Mafia, the Hollywood film industry, and Ronald Reagan. According to this account, Wasserman's rise was facilitated by his accommodation of mob interests, and his relationship with Reagan involved mutual favors that benefited both men and the organized crime figures connected to MCA.

Wasserman's defenders noted that doing business in the entertainment industry, particularly in Chicago during the Prohibition era and its aftermath, necessarily involved dealing with organized crime, which controlled many venues and unions. Jules Stein and Wasserman treated the mob "as simply a fact of life in the profession they had chosen," neither seeking mob involvement nor being able to avoid it entirely.

The SAG Waiver

The Screen Actors Guild waiver that allowed MCA uniquely to operate as both talent agency and production company attracted scrutiny from the Justice Department. The arrangement, which no other agency received, was granted while Ronald Reagan—an MCA client—served as SAG president.

Critics argued that the waiver represented a corrupt arrangement between Wasserman and Reagan, with Reagan using his union position to benefit his agent while Wasserman supported Reagan's ambitions. The Justice Department eventually forced MCA to choose between its agency and production businesses in 1962, ending the dual operation but not addressing the circumstances under which the original waiver was granted.

Power and Intimidation

Like many powerful Hollywood figures, Wasserman developed a reputation for ruthlessness in business dealings. His legendary temper and his willingness to use MCA's market power against perceived enemies created both respect and resentment throughout the industry. Stories of Wasserman's intimidating management style became part of Hollywood lore.

At the same time, Wasserman inspired intense loyalty among those who worked with him closely. His attention to detail, his genuine care for clients and employees, and his long-term thinking created relationships that lasted decades. The contradictions in perceptions of Wasserman reflected the complexity of building and maintaining power in a competitive industry.

Death and Legacy

Final Years

Wasserman continued working at Universal until the end of his life, maintaining an office on the lot despite his diminished corporate role. He spoke to Variety about his ongoing work, noting: "I am under contract here for the rest of my life, and I don't think they would throw me out of my office—my name is on the building."

His health declined in May 2002 when he suffered a stroke. Wasserman died on June 3, 2002, at his Beverly Hills home from complications of the stroke. He was 89 years old. He was interred at Hillside Memorial Park in Culver City, California.

Hollywood Walk of Fame

On October 5, 2007, more than five years after his death, Wasserman was honored posthumously with the 2,349th star on the Hollywood Walk of Fame. His grandson Casey Wasserman accepted the honor on behalf of the family, continuing the legacy of a man who had shaped the entertainment industry for more than half a century.

Assessment

Wasserman's legacy is complex and contested. To admirers, he was a visionary who transformed the entertainment industry, created opportunities for talent, and built institutions that continue to shape American culture. The New York Times called him "The Last of the Hollywood Moguls," recognizing his unique position in the evolution of the film and television industries.

To critics, he was a power broker whose methods were ethically questionable and whose relationships with organized crime and politicians compromised the industry's integrity. The controversies surrounding his career—the mob connections, the SAG waiver, the accumulation of power through intimidation—remain subjects of debate among entertainment historians.

What is beyond dispute is Wasserman's extraordinary influence on the entertainment industry. From the percentage deal that changed how talent was compensated, to the agency practices that shifted power from studios to representatives, to the diversified entertainment conglomerate he built at MCA, Wasserman's innovations reshaped Hollywood in ways that remain visible today.

Jack Valenti's tribute captured the essence of Wasserman's position: "I'm not sure people really appreciate that he dominated this industry in a way no one else has come close to since... if Hollywood is Mount Olympus, Lew Wasserman is Zeus."

In Popular Culture

Wasserman's larger-than-life persona has made him a subject for biographical treatment in various media:

David Eisner portrayed Wasserman in the CBS television film "Martin and Lewis" (2002)
Stewart Bick portrayed him in the television film "The Reagans" (2003)
Michael Stuhlbarg portrayed him in the theatrical film "Hitchcock" (2012)
He was the subject of the biographical documentary "The Last Mogul" (2005)

Bibliography

Books About Wasserman

When Hollywood Had a King: The Reign of Lew Wasserman, Who Leveraged Talent into Power and Influence by Connie Bruck (2003)
The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood by Dennis McDougal (1998)
Dark Victory: Ronald Reagan, MCA, and the Mob by Dan Moldea (1986)

References

External Links