Samuel Z. Arkoff, a larger-than-life figure with an imposing presence, was a lawyer in his late 20s, representing his in-laws and the eclectic clientele of the Hollywood fringe, including the social circle of the infamous and enigmatic director, Edward D. Wood Jr., renowned for his unconventional filmmaking style and transvestite persona.
Arkoff's remarkable ability to intimidate and extract concessions from his clients was the stuff of legend, earning him a reputation as a formidable negotiator. One of his clients, screenwriter Alex Gordon, had submitted an unsolicited script to Realart Pictures, a company specializing in re-releasing classic films under new titles, with the intention of capitalizing on their nostalgic appeal.
Arkoff discovered that one of these re-releases, the 1941 film Man Made Monster, was strikingly similar to Gordon's screenplay, and he negotiated a settlement of $500 with Jack Broder, the owner of Realart Pictures, for the rights to the title. This unexpected windfall caught the attention of Broder's sales manager, James H. Nicholson, who was impressed by Arkoff's impressive negotiating skills and proposed a partnership.
This serendipitous encounter led to the formation of American Releasing Corp. in 1954, with Arkoff and Nicholson as co-founders. Their partnership marked the beginning of a new era in the film industry, as they went on to produce and distribute a wide range of films, from low-budget B-movies to critically acclaimed blockbusters.
The inaugural release of the company was a low-budget feature film titled "Monster from the Ocean Floor," which was produced by the then 29-year-old Roger Corman for a sum of less than $50,000. Despite being a low-budget production, the film surprisingly yielded a substantial profit of $850,000, thereby catapulting Corman to the position of a silent partner within the company. By 1955, the American Releasing Corp. underwent a name change, transforming into American International Pictures (AIP).
As the 1950s continued to unfold, a gradual yet pronounced decline in movie attendance became increasingly evident, directly attributed to the rapid ascendance of television as a dominant form of entertainment. Amidst this changing landscape, American International Pictures (AIP) demonstrated remarkable adaptability by redirecting its focus towards the horror movie genre and drive-in cinemas, thereby catering to the burgeoning teenage market.
The company's ability to thrive was largely facilitated by its innovative advertising strategies and parsimonious budgets, which enabled AIP to effectively navigate the competitive film industry. Under the visionary leadership of Samuel Z. Arkoff and James H. Nicholson, AIP emerged as a major player in the industry, producing a diverse array of kitsch classics that spanned various genres, including horror, rock-'n'-roll, juvenile delinquency, and Italian muscle men.
Sam Arkoff's remarkable capacity to adjust to shifting cultural currents and grasp the intricacies of his target audience was instrumental in driving the company's prosperity, as he was unwavering in his refusal to permit individual egos to overshadow the greater good or compromise on the pursuit of excellence.
After Jack Nicholson's resignation in 1972, Arkoff assumed sole ownership of American International Pictures, a position he held steadfastly until the 1979 merger with Filmways, at which point he bid farewell to AIP to establish Arkoff International Pictures, a new venture that would serve as a testament to his unwavering entrepreneurial spirit.
