I'd say its pretty impossible in the near term and pretty unlikely in the long term.
First off, sample rate depth has serious consequences for the way that DAW and digitial processing work, and mixing is a processor intense activity. In order for a process like an eq or summing mixer or distortion to work correctly, it has to do its process at double or 4x the rate it would at 48k. Ever actually try mixing something complex at 192k? Give it a spin and let us know how your computer holds up.
Also, have you done a double-blind listening test between 48k and 96k? Are you sure you can hear a difference? I can certainly set one up for you. What if I use 48k source sample rate material recorded outdoors and then encode each into AAC? Because another issue is the production process: Most audio for films is not captured at super high sample rates. Its captured at 48k, so unless you're asking your location sound dept to run at 192k then you're just upsampling the dialogue and pfx anyway.
Actually, that first point is the biggest one. You're crippling your computing power and you are doing it for what will amount to zero sonic benefit. This is doubly true when you consider that location source audio is captured at 48k, and the final distribution master is encoded in a lossy format.
In the end quality is about content. Mixing decisions are about story, not sample rates. I'm not trying to be harsh, I'm just trying to steer you away from the placebo mentality that makes Monster Cables so much money. Trust your ears, but only when your eyes aren't involved.