Editing Warren Beatty (section)

===1957–1969: Early roles and breakthrough ===
Beatty started his career making appearances on television shows such as ''[[Studio One (CBS series)|Studio One]]'' (1957), ''[[Kraft Television Theatre]]'' (1957), and ''[[Playhouse 90]]'' (1959). He was a semi-regular on ''[[The Many Loves of Dobie Gillis]]'' during its first season (1959–1960). His performance in [[William Inge]]'s ''A Loss of Roses'' on Broadway garnered him a 1960 [[Tony Award]] nomination for [[Tony Award for Best Featured Actor in a Play|Best Featured Actor in a Play]] and a 1960 [[Theatre World Award]]. It was his sole appearance on Broadway.<ref>{{cite web |url=http://www.ibdb.com/Person/View/31401 |title=Warren Bestty Broadway Credits|website=[[Internet Broadway Database]] |access-date=November 26, 2015}}</ref> Beatty enlisted in the [[California Air National Guard]] in February 1960 but was discharged the following year due to a [[physical disability]].{{citation needed|date=December 2023}} He remained on [[Individual Ready Reserve|inactive duty]] after that time.{{citation needed|date=December 2023}}

Beatty made his film debut in [[Elia Kazan]]'s ''[[Splendor in the Grass]]'' (1961) opposite [[Natalie Wood]]. The film was a major critical and box office success; Beatty was nominated for a [[Golden Globe Award for Best Actor – Motion Picture Drama|Golden Globe Award for Best Actor]] and received the award for [[Golden Globe Award for New Star of the Year – Actor|New Star of the Year – Actor]].<ref name="Beatty Golden Globes">{{cite web |url=http://www.goldenglobes.com/Warren-beatty |title=Warren Beatty at the Golden Globes |website=goldenglobes.com |publisher=[[Hollywood Foreign Press Association]] |access-date=June 5, 2015 |archive-url=https://web.archive.org/web/20150115020417/http://www.goldenglobes.com/Warren-beatty |archive-date=January 15, 2015 |url-status=dead}}</ref> The film was also nominated for two Oscars, winning one.

Author [[Peter Biskind]] points out that Kazan "was the first in a string of major directors Beatty sought out, mentors or father figures from whom he wanted to learn."<ref name="biskind"/> Years later during a [[Kennedy Center]] tribute to Kazan, Beatty told the audience that Kazan "had given him the most important break in his career."<ref name="biskind"/> Biskind adds that they "were wildly dissimilar—mentor vs. protegé, director vs. actor, immigrant outsider vs. native son. Kazan was armed with the confidence born of age and success, while Beatty was virtually aflame with the arrogance of youth."<ref name="biskind"/> Kazan recalls his impressions of Beatty:

{{blockquote|Warren—it was obvious the first time I saw him—wanted it all and wanted it his way. Why not? He had the energy, a very keen intelligence, and more ''chutzpah'' than any Jew I've ever known. Even more than me. Bright as they come, intrepid, and with that thing all women secretly respect: complete confidence in his sexual powers, confidence so great that he never had to advertise himself, even by hints.<ref name=Kazan>Kazan, Elia. ''Kazan on Directing'', Vintage Books (Jan. 2010) p. 603</ref>}}

{{quote box|align=right|width=25em|quote=Mr. Beatty's career has had all the hallmarks of the conventional Hollywood golden boy. Ingratiating good looks, disarming youthfulness, a delight in the social life and no apparently strong feelings about his craft. This image has now been strikingly shattered with his emergence as a vividly individual actor and as a highly imaginative producer in the gangster ballad, ''Bonnie and Clyde''&nbsp;... At 28 [''sic''], the image of Warren Beatty, fun-loving playboy, is dead. Warren Beatty, a man of the cinema, is born. |source=—Gerald Garrett, syndicated movie columnist<ref name=Garrett/>}}

Beatty followed his initial film with [[Tennessee Williams]]' ''[[The Roman Spring of Mrs. Stone]]'' (1961), with [[Vivien Leigh]] and [[Lotte Lenya]], directed by [[Jose Quintero]]; ''[[All Fall Down (1962 film)|All Fall Down]]'' (1962), with [[Angela Lansbury]], [[Karl Malden]] and [[Eva Marie Saint]], directed by [[John Frankenheimer]]; ''[[Lilith (film)|Lilith]]'' (1963), with [[Jean Seberg]] and [[Peter Fonda]], directed by [[Robert Rossen]]; ''[[Promise Her Anything]]'' (1964), with [[Leslie Caron]], [[Bob Cummings]] and [[Keenan Wynn]], directed by [[Arthur Hiller]]; ''[[Mickey One]]'' (1965), with [[Alexandra Stewart]] and [[Hurd Hatfield]], directed by [[Arthur Penn]]; and ''[[Kaleidoscope (1966 film)|Kaleidoscope]]'' (1966), with [[Susannah York]] and [[Clive Revill]], directed by [[Jack Smight]]. In 1965, he formed a production company, Tatira, which he named for Kathlyn (whose nickname was "Tat") and Ira.<ref>{{cite news |url=https://www.baltimoresun.com/2010/07/08/beattys-tatira-productions-had-baltimore-roots/ |title=Beatty's 'Tatira Productions' had Baltimore roots |website=[[The Baltimore Sun]] |access-date=July 8, 2010 |url-access=registration |url-status=live |archive-url=https://web.archive.org/web/20241211194917/https://www.baltimoresun.com/2010/07/08/beattys-tatira-productions-had-baltimore-roots/ |archive-date=December 11, 2024}}</ref>