Biographie
By the early 1950s, future film mogul Samuel Z. Arkoff was a confident lawyer in his early 30s, making ends meet by representing his in-laws and Hollywood's fringe, including the social circle of the now-notorious director and angora-clad transvestite Edward D. Wood Jr. Physically formidable and intimidating, Arkoff could easily scare anyone who opposed him. Among his modest clients was screenwriter Alex Gordon, who had submitted an unsolicited script to Realart Pictures, a company that profitably re-released 20-year-old films, often retitled by owner Jack Broder. One such film, Man Made Monster (1941), had been reissued as The Atomic Monster—the same title as Gordon's screenplay. Sensing an opportunity, Arkoff visited Broder and remarkably secured a $500 settlement. Broder's sales manager, James H. Nicholson, astonished by Arkoff's ability to extract money from his notoriously frugal boss, met with Arkoff and proposed a partnership, resulting in the creation of American Releasing Corp. in 1954. Their first release was Monster from the Ocean Floor (1954), a low-budget film produced by 29-year-old Roger Corman. Made for under $50,000, it earned $850,000, bringing Corman on board as a silent partner. By 1955, the company was renamed American-International Pictures, or AIP, focusing initially on westerns, believing shooting on location was more economical than studio rentals. Though profitable, Arkoff was dissatisfied with the returns and sought advice from theater owners about which films attracted audiences.
By the mid-1950s, television had significantly reduced movie attendance, shifting the key demographic to teenagers and young adults who favored horror films and drive-in theaters as social hubs away from parental supervision. AIP embraced the horror genre wholeheartedly and profited immensely. Under Nicholson and Arkoff, the company thrived in a challenging industry by catering to teenage tastes and swiftly adapting to trends. AIP's extensive catalog of over 350 cult classics—covering genres from horror and rock-'n'-roll to juvenile delinquency, Italian muscle men, Edgar Allan Poe adaptations, and Annette Funicello musicals—carved out a distinctive place in film history. The company became notorious for inventive advertising campaigns often more entertaining than the films themselves. Arkoff was intolerant of egos, maintaining profitability through tight budgets and a keen understanding of the target market. After Nicholson resigned in 1972, Arkoff took full control of the company until its 1979 merger with Filmways, which led to his departure. He subsequently founded and led Arkoff International Pictures.
