Cinema Experts

Founded by the brothers Harvey and Bob Weinstein in Buffalo, New York in 1979, and named by combining the first names of their parents Max and Miriam, the company was originally created in order to distribute independent films which were deemed commercially unfeasible by the major studios.
The company's first major success came when the Weinsteins teamed up with British producer Martin Lewis and acquired US rights to two concert films Lewis had produced of benefit shows for human rights organization Amnesty International. The Weinsteins worked with Lewis to distill the two films into one film for the US marketplace and the resulting film The Secret Policeman's Other Ball (US Version) was a successful release for Miramax in the summer of 1982. It also presaged a modus operandi that the company would undertake later in the 1980s of acquiring films from international filmmakers and reworking them to suit US sensibilities.
Among the company's other breakthrough films as distributors later in the 1980s were The Crying Game, Tie Me Up! Tie Me Down! and Scandal. The company also made films such as Pulp Fiction, Heavenly Creatures and Shakespeare in Love.
In addition to those successes, Miramax acquired and/or produced many films which did extraordinarily well financially and the company became one of the leaders of the independent film revolution of the 1990s. It produced or distributed seven films with box office grosses totalling more than $100 million and its most successful title, Chicago, earned more than $300 million worldwide. The company was also exceptionally successful in securing Academy Award nominations for its releases and a large number of the nominations resulted in Oscar wins.
In 1993 Miramax was purchased for $70 million by The Walt Disney Company. Harvey and Bob Weinstein ran Miramax until they left the company on September 30, 2005. During their tenure, the Weinstein brothers ran Miramax independently of other Disney companies. However, Disney had the final say on what Miramax could release. Disney's Buena Vista Home Entertainment division releases Miramax output.
After extensive negotiations and much media and industry speculation, on March 30, 2005, Disney and the Weinsteins announced that they would not renew their contractual relationship when their existing agreements expired at the end of September 2005. The company's film studio consortium, Buena Vista Motion Pictures Group assumed control of Miramax, which will have a smaller annual production budget. The Weinsteins have started a new film production company simply titled The Weinstein Company and took the Dimension Films label with them, but the Miramax name will remain with the film studio owned by Disney. It is currently run by Daniel Battsek.
Miramax has come under criticism for its editing, dubbing, and replacing the soundtracks of various foreign films it releases. One notable example is Iron Monkey, which though released subtitled, had its subtitles altered to remove the political context of the story, had scenes trimmed and changed for violence and pacing, and had the soundtrack changed, removing the famous Wong Fei Hung theme. Other films that they have altered in this way include Shaolin Soccer, Farewell My Concubine (theatrical release) and Jet Li's Fist of Legend.
Peter Biskind's book Down and Dirty details many of Weintein's dishonest dealings with filmmakers. Under the Weinsteins, Miramax had a history of buying the rights to Asian films, only to sit on them without releasing them for some years. One example of this is Hero, a 2002 Chinese martial arts film. It languished in Miramax's vaults for two years before it was salvaged with the intervention of Quentin Tarantino. And sometimes Miramax purchased films only to never release them. An example of this is Tears of the Black Tiger, a Thai film. After changing the ending of the film, Tears of the Black Tiger sat in Miramax's vaults for five years until its rights were purchased by Magnolia Pictures in 2006.
One reason for the delays and non-releases of films was an accounting scheme the Weinsteins used to shift potential money-losing films to future fiscal years and ensure they would receive annual bonuses from Disney. Many North American fans, wanting to see the films held up by Miramax, would seek out DVD versions of the films on the Internet from overseas dealers. MonkeyPeaches, a website about Chinese movies, accuses both its ISP and Miramax of "backstabbing" their site by threatening, without giving the site any warning, a lawsuit unless it immediately stopped selling Hero, which was still in US theaters. The ISP responded by shutting down the site.
As a result of the Weinsteins' actions, a number of Asian producers who sold their distribution rights to the company refuse to do so for their subsequent films.
Defenders of the company point out that prior to Miramax most of the films purchased by the company would have had little to no chance of achieving US distribution other than by very small distributors with minimal marketing expertise and funds. They also state that the purpose of the company's aggressive re-editing technique was always to try help the films find a broader American audience than they might otherwise find.
"I'm not cutting for fun," Harvey Weinstein said in an interview. "I'm cutting for the shit to work. All my life I served one master: the film. I love movies."