American International Pictures
| Company type | Subsidiary |
|---|---|
| Industry | Film production and distribution |
| Predecessor | American Releasing Corporation (ARC) |
| Founded | April 2, 1954 |
| Founder | James H. Nicholson, Samuel Z. Arkoff |
| Defunct | 1980 (original operation) |
| Fate | Purchased by Filmways in 1979; integrated into Orion Pictures; brand reactivated by MGM in 2020; owned by Amazon MGM Studios (2023) |
| Successor | Orion Pictures (subsidiary), Amazon MGM Studios (parent company) |
| Headquarters | United States , United States |
Area served | Primarily United States; film distribution worldwide |
Key people | James H. Nicholson, Samuel Z. Arkoff, Roger Corman, Alex Gordon, Lou Rusoff |
| Products | Low-budget films targeting teenage audiences; film distribution |
| Owner | Amazon MGM Studios |
| Parent | Amazon MGM Studios |
American International Pictures, LLC (commonly known as AIP or American International Productions) is a U.S.-based film production company currently owned by Amazon MGM Studios. Initially active from 1955 until 1980, AIP operated as an independent film producer and distributor, specializing in low-budget movies aimed primarily at teenage audiences. The company was purchased by Filmways in 1979.
The enterprise was established on April 2, 1954, under the name American Releasing Corporation (ARC), founded by former Realart Pictures Inc. sales executive James H. Nicholson and entertainment attorney Samuel Z. Arkoff. Its debut release was the 1953 British documentary Operation Malaya. Throughout the 1950s to the 1970s, AIP focused on producing economical double features designed to attract teenage viewers.
Eventually, the company became integrated into Orion Pictures, which is now a subdivision of Amazon MGM Studios. On October 7, 2020, Metro-Goldwyn-Mayer reactivated the AIP brand as a label for films acquired for both digital and theatrical release, with MGM overseeing streaming services and United Artists Releasing managing theatrical distribution in North America until Amazon MGM Studios took over in 2023.
AIP personnel
The executive production team was led by Nicholson and Arkoff, while key roles as film producers and occasional directors were filled by Roger Corman and Alex Gordon. Many early scripts were written by Charles B. Griffith, collaborating closely with Arkoff’s brother-in-law Lou Rusoff, who also produced several projects. Additional prominent writers included Ray Russell, Richard Matheson, and Charles Beaumont. The company’s unique visual identity was shaped by Oscar-winning cinematographer Floyd Crosby, renowned for his work on High Noon, who employed surreal colors and distinctive lenses. Early science fiction films often featured rubber monster costumes and miniatures created by Paul Blaisdell. Film scores were frequently composed by talents such as Les Baxter and Ronald Stein.
During the 1950s, AIP contracted actors like John Ashley, Fay Spain, and Steve Terrell.
Emphasis on teenagers
After initial releases failed to achieve profitability, Arkoff sought advice from theater exhibitors who emphasized the lucrative potential of the teenage demographic, noting that adult audiences were increasingly drawn to television. Consequently, AIP discontinued Westerns; Arkoff remarked: "To compete with television westerns you have to have color, big stars and $2,000,000."
AIP was a pioneer in utilizing focus group research by surveying American teenagers to influence decisions regarding film titles, casting choices, and storylines. Exhibitors often contributed about 20% of production funding and provided input on title appeal before scripts were commissioned. The production process typically began with developing an attention-grabbing title, followed by eye-catching poster designs created by Albert Kallis—AIP’s art supervisor from 1955 to 1973—then securing financing before moving on to scriptwriting and casting.
According to Filmink, "AIP operated on straightforward principles: maintain low overhead costs (no permanent studio facilities), minimize expenses, employ fading stars (such as Ray Milland) or rising talent (like John Ashley), hire cost-effective directors, concentrate on specific genres (horror, sci-fi, action, peplum), capitalize on trends but abandon them when interest declined, provide audiences with alternatives to major studios’ offerings, and develop franchise properties."
The ARKOFF formula
During a 1980s television appearance, Samuel Z. Arkoff revealed his effective "ARKOFF formula" for crafting successful low-budget movies. The essential components he identified were:
- Action (thrilling and engaging storytelling)
- Revolution (innovative or provocative subject matter)
- Killing (inclusion of some violent scenes)
- Oratory (memorable dialogue and speeches)
- Fantasy (depiction of audience daydreams)
- Fornication (sexual appeal aimed at young adult viewers)
Later, AIP's marketing division introduced the "Peter Pan Syndrome" approach, focusing on their core demographic—19-year-old males—based on analysis of viewing trends by age and gender.
American Releasing Corporation
The origins of AIP trace back to the American Releasing Corporation (ARC), established in 1954 by James H. Nicholson and Samuel Z. Arkoff as a fresh distribution enterprise.
Roger Corman
ARC’s initial goal was to distribute Roger Corman’s car chase movie The Fast and the Furious (1955). Despite having other offers, Corman accepted ARC’s financial backing, which enabled him to produce two more films. The success of The Fast and the Furious served as a catalyst for ARC’s growth.
Subsequent projects by Corman for ARC included directing the Western Five Guns West (1955) and the science fiction film The Beast with a Million Eyes (1955), a title proposed by Nicholson. ARC also handled distribution for the Western Outlaw Treasure (1955), featuring Johnny Carpenter.
Alex Gordon
Corman directed another pair of films—a Western and a sci-fi feature—titled Apache Woman (1955) and Day the World Ended (1955). Both screenplays were written by Lou Rusoff, Arkoff’s brother-in-law and an early key writer. Alex Gordon produced Apache Woman, while Corman produced Day the World Ended, both produced under Golden State Productions, ARC’s production division.
As television began to diminish traditional B movie audiences, Nicholson and Arkoff innovated by producing two low-budget films intended for double features instead of standalone B movies. Nicholson created a complementary title for Day the World Ended, resulting in The Phantom from 10,000 Leagues (1955). Collaborating with editors Dan and Jack Milner to split expenses, this double feature achieved notable box office success.
Gordon also produced Corman’s Western The Oklahoma Woman (1955) through Sunset Productions, which was paired as a double feature with the film noir Female Jungle (1955).
Additional ARC releases included the British documentary Operation Malaya (1955) and Corman’s Western Gunslinger (1956).
American International in the 1950s
Once available, Arkoff and Nicholson adopted the name "American International Pictures." In the late 1950s, AIP’s primary production units were led by Roger Corman, Alex Gordon & Lou Rusoff, and Herman Cohen. The company also acquired films from external producers and imported international titles.
Roger Corman
Corman remained a central figure at AIP while simultaneously collaborating with Allied Artists and managing his Filmgroup company. He produced hits such as the science fiction film It Conquered the World (1956), written by Rusoff with revisions from Charles B. Griffith. His significant works included Rock All Night (1956), Naked Paradise (1957), which featured Arkoff in a cameo role, as well as The Undead, Sorority Girl, The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957), Machine Gun Kelly starring Charles Bronson, and Teenage Caveman (1958) with Robert Vaughn.
AIP also distributed several films that Corman helped finance, including Night of the Blood Beast, She Gods of Shark Reef, and The Brain Eaters (all released in 1958).
Alex Gordon and Lou Rusoff
Alex Gordon was primarily responsible for producing films through Golden State Productions, frequently collaborating with writer Lou Rusoff. Among his productions was Girls in Prison (1956), directed by Edward L. Cahn, one of American International Pictures' most active filmmakers. This film premiered alongside Hot Rod Girl (1956).
Many of Gordon's projects were directed by Cahn, including titles such as The She-Creature (which was paired with It Conquered the World), AIP's final Western Flesh and the Spur, the rock-and-roll musical Shake, Rattle & Rock! featuring Mike Connors, as well as Runaway Daughters, Voodoo Woman, and Dragstrip Girl, which starred John Ashley. Ashley also appeared in Motorcycle Gang. Additionally, Cahn directed war-themed films like Jet Attack and Submarine Seahawk (1958). The majority of these films were penned by Rusoff and helmed by Cahn.
Following Gordon's exit, Lou Rusoff took on producing roles for films such as Hot Rod Gang (1958) and Ghost of Dragstrip Hollow (1959).
Herman Cohen
Herman Cohen emerged as another significant producer, achieving notable success with the 1957 release I Was a Teenage Werewolf, which starred Michael Landon. He continued this momentum with popular films including I Was a Teenage Frankenstein, the double feature Blood of Dracula (both released in 1957), followed by How to Make a Monster in 1958. In 1959, Cohen produced The Headless Ghost and Horrors of the Black Museum.
Other producers
During the late 1950s, several key producers collaborated with AIP:
- Norman T. Herman: responsible for Hot Rod Girl (1956)
- Robert Gurney: produced titles such as Invasion of the Saucer Men (1957; paired with I Was a Teenage Werewolf), Reform School Girl (1957), and Terror from the Year 5000 (1958)
- Bert I. Gordon: known for The Amazing Colossal Man (1957), its sequel War of the Colossal Beast (1958), along with Attack of the Puppet People and Earth vs. the Spider, both from 1958
- Burt Topper: produced Hell Squad (1958), Tank Commandos (1959), and Diary of a High School Bride (1959)
- Edward Bernds: credited with directing High School Hellcats (1958)
- Stanley Shpetne: responsible for films such as The Bonnie Parker Story (1958) and Paratroop Command (1959)
- Stanley Kallis: produced both Operation Dames and Roadracers, released in 1959
Pickups
To broaden its release lineup, AIP acquired distribution rights for several films from outside producers. These included titles like The Astounding She-Monster, the documentary Naked Africa, as well as genre films such as The Screaming Skull (1957), The Cool and the Crazy, Daddy-O, Dragstrip Riot, and the war-themed Tank Battalion from 1958.
Anglo-Amalgamated
AIP forged a reciprocal distribution agreement with Britain's Anglo-Amalgamated, facilitating an exchange of film rights between the UK and US markets. This partnership included UK releases distributed by AIP like The Tommy Steele Story (1957) and Cat Girl (1957). Additionally, AIP imported international productions such as England’s 1954 film The White Huntress, Mexico’s 1958 title Pulgarcito, and Russia’s 1959 release, The Sky Calls.
Crisis in the Late 1950s
As rival studios began adopting AIP's double feature approach, escalating production expenses outstripped the growth in ticket sales. This financial pressure led AIP to shut down most of its production divisions, shifting its focus toward distributing Italian cinema while reevaluating its overall business strategy.
In October 1959, AIP obtained funding from Colonial Bank to produce ten films within a year, complemented by Pathe Laboratories financing an additional 14 to 20 projects. Among the slated titles were Diary of a High School Bride, Drag Race, The Haunted House of Usher, End of the World, World Without Women, Bombs Away, Blood Hill, Take Me To Your Leader, She, and Eve and the Dragon. However, not all planned productions reached completion.
AIP's Productions During the 1960s
During this period, the company operated out of leased office space located at the former Chaplin Studios.
Imported Films
Throughout the late 1950s, AIP maintained its operations by bringing in European films, notably Italian productions such as Sheba and the Gladiator (1959), Goliath and the Barbarians (1959), and the early hit Black Sunday (1960). The import roster also featured French titles like Atomic Agent (1959), Danish productions such as The Angry Red Planet (1959), German works including Fritz Lang's The Indian Tomb (1960) and Journey to the Lost City, West German film Portrait of a Sinner (1959), British film The Professionals (1960), along with the Philippine movie Escape to Paradise (1960). Additionally, AIP acquired titles like Why Must I Die? and The Jailbreakers (1960).
The Corman-Poe Film Series
In the early 1960s, AIP earned acclaim for producing a collection of horror movies that united director Roger Corman, actor Vincent Price, and adaptations of Edgar Allan Poe's literary works. Screenplays were crafted by notable writers such as Richard Matheson, Charles Beaumont, and Robert Towne.
The idea—attributed to Corman and Lou Rusoff—capitalized on Poe’s public domain story "The Fall of the House of Usher", leveraging its brand appeal without incurring royalty fees. With an increased budget, Corman was able to shoot in widescreen color formats featuring elaborate set designs. The success of House of Usher encouraged AIP to finance further Poe-based films. To contain costs, sets and special effects were recycled across multiple productions; for example, footage depicting a burning roof appeared repeatedly. All films were directed by Corman and starred Price except for The Premature Burial, which featured Ray Milland after being acquired mid-production.
As the series progressed, Corman infused elements of comedy, especially evident in The Raven, a comedic interpretation starring Price alongside Boris Karloff and Peter Lorre. Corman also adapted H. P. Lovecraft's work originally titled The Case of Charles Dexter Ward, which AIP retitled as The Haunted Palace to maintain association with the Poe brand. The concluding entries, The Masque of the Red Death and The Tomb of Ligeia, were filmed in England with longer shooting schedules than was customary for both Corman and AIP.
Although Corman and Rusoff are widely credited with creating the Poe series concept, Mark Damon asserted that he originated the idea and directed The Pit and the Pendulum without official credit—a claim not supported by Corman or production documentation.
Catalogue of Corman-Poe Productions
In the early 1960s, American International Pictures (AIP) released a collection of eight horror movies inspired by the literary works of Edgar Allan Poe, with seven directly adapted from his stories:
- House of Usher (1960) – adapted from "The Fall of the House of Usher"
- The Pit and the Pendulum (1961) – derived from the namesake short story
- The Premature Burial (1962) – based on the short story sharing its title
- Tales of Terror (1962) – incorporates elements from "Morella", "The Black Cat", "The Cask of Amontillado", and "The Facts in the Case of M. Valdemar"
- The Raven (1963) – inspired by Poe’s poem
- The Haunted Palace (1963) – narrative adapted from H. P. Lovecraft's novel The Case of Charles Dexter Ward, though titled after a Poe poem
- The Masque of the Red Death (1964) – drawn from Poe’s short story, with "Hop-Frog" integrated as a secondary plotline
- The Tomb of Ligeia (1964) – based on "Ligeia"
Vincent Price featured in seven of these films, excluding only The Premature Burial. Occasionally included in this group is Corman’s 1963 production The Terror, which, despite lacking Poe source material, is sometimes linked to this series. Additionally, AIP announced but never realized projects such as The Gold Bug, The Thousand and Second Tale of Scheherazade, and The Angel of the Odd.
In 1962, Arkoff likened AIP’s status to that of Columbia Pictures prior to their major successes, indicating intentions to attract more prominent talent and potentially pursue a public offering within several years.
The Beach Party Phase
Beginning with 1963’s Beach Party, AIP initiated a profitable beach party film trend featuring Annette Funicello and Frankie Avalon, developed by writer-producer Rusoff. This popular franchise wrapped up in 1966 with its seventh film, The Ghost in the Invisible Bikini. Numerous actors from these productions also appeared in AIP’s spy parodies like Dr. Goldfoot and the Bikini Machine (1965) as well as car racing-themed movies such as Fireball 500 (1966).
Throughout this era, AIP maintained its involvement with many of Corman’s horror titles, including X: The Man with the X-ray Eyes. The 1966 release The Wild Angels, starring Peter Fonda, sparked a lucrative motorcycle gang subgenre that endured for nearly ten years. This wave included films like Devil's Angels, The Glory Stompers featuring Dennis Hopper, and The Born Losers, which introduced the memorable character Billy Jack.
In 1968, AIP launched a $22 million slate aimed at capitalizing on emerging cultural movements. Embracing late-’60s psychedelia and countercultural themes, it released socially aware features such as The Trip starring Fonda; Riot on Sunset Strip; Wild in the Streets; Maryjane; Gas-s-s-s; and Psych-Out, which included Jack Nicholson. These films enjoyed significant box office success alongside a revived interest in horror during this period.
International Collaborations with American International
In the United Kingdom, AIP formed a partnership with Nat Cohen and Stuart Levy's Anglo-Amalgamated, which was responsible for releasing more than 140 films produced or owned by AIP, primarily as double features. This collaboration also facilitated the distribution of Anglo-Amalgamated's British productions in the United States through AIP. Joint ventures included titles such as Cat Girl, Circus of Horrors, and The Masque of the Red Death. Additionally, AIP worked alongside Tigon British Film Productions, Hammer Film Productions, and Amicus Productions on projects like Witchfinder General, The Vampire Lovers, and Scream and Scream Again. Although AIP maintained a production office in London until 1973, it continued to finance British films including Hennessy and The People that Time Forgot. The company had a brief involvement with Hammer's Vampirella and To the Devil a Daughter, distributing the latter within the U.S. market.
While visiting Italy, Arkoff established a connection with producer Fulvio Lucisano of Italian International Film, which co-produced around 25 movies for AIP. Importing finished foreign films proved more economical than producing studio pictures domestically in the U.S., leading AIP to release numerous giallo, peplum, Eurospy, and Euro War films starring American and Italian actors such as the comedic pair Franco and Ciccio. Despite this extensive foreign film portfolio, AIP released only two Spaghetti Westerns—Massacre Time and God Forgives... I Don't!—likely due to earlier Western genre setbacks. Many international films underwent editing, re-dubbing (frequently by Arkoff’s nephew Ted Rusoff), and occasionally received new scores composed by Les Baxter.
Through Henry G. Saperstein’s involvement, AIP served as a prominent American distributor for Toho’s Godzilla series and Kadokawa Pictures’ Gamera kaiju films during the 1960s and 1970s. The company also distributed other Japanese science fiction titles including Frankenstein Conquers the World, Monster from a Prehistoric Planet, The X from Outer Space, as well as South Korea’s Yongary, Monster from the Deep. Furthermore, AIP handled two animated features from Toei Animation: Alakazam the Great and Jack and the Witch.
AIP released Japanese espionage thrillers re-dubbed into comedic versions co-written by Woody Allen, most notably titled What's Up Tiger Lily?. The studio adapted Eastern Bloc science fiction films for American viewers by rewriting dialogue scripts and sometimes incorporating scenes with American or British performers. Examples include the Soviet production Planeta Bur, issued under the titles Voyage to the Prehistoric Planet and Voyage to the Planet of Prehistoric Women, as well as the Czech film Ikarie XB-1, retitled as Voyage to the End of the Universe.
Later on, AIP supported the British adaptation of Edgar Allan Poe’s work with the film The Oblong Box (1969), directed by Gordon Hessler.
AIP-TV
In 1964, American International Productions established American International Productions Television (AIP-TV), marking its late entry into television content creation compared to other film studios. Initially, AIP-TV syndicated numerous 1950s-era AIP movies to television stations across the United States while producing unsuccessful pilot episodes for shows such as Beach Party and Sergeant Deadhead. The division subsequently developed several color science fiction and horror TV movies directed by Larry Buchanan that were remakes of earlier black-and-white AIP features. It also distributed collections of English-dubbed European, Japanese, and Mexican films—particularly those sourced from K. Gordon Murray—as well as foreign live-action and animated series like Prince Planet. Among its most notable animated distributions was Sinbad Jr. and His Magic Belt.
To alleviate concerns among theater owners regarding the timing between theatrical releases and television broadcasts, AIP announced in 1963 that no film would be shown on television until five years after its theatrical debut unless it failed to recover its production costs. Additionally, AIP-TV produced promotional specials connected to AIP films, including ABC’s 1965 broadcast of The Wild Weird World of Dr. Goldfoot and the syndicated 1972 special An Evening of Edgar Allan Poe, both starring Vincent Price.
By 1978, AIP-TV was distributing pop music programming such as Twiggy's Jukebox along with several British television series like The Avengers to audiences in the United States.
AIP Records
Established in 1959, American International Records functioned as AIP's proprietary label dedicated to releasing film soundtracks and related musical works. This imprint issued numerous soundtrack albums and was at one stage distributed by MGM Records, the music division affiliated with AIP’s successor, MGM.
Going Public and Nicholson’s Exit
In 1969, AIP became a publicly traded company by offering 300,000 shares to raise funds. The following year, they formed a distribution partnership with Commonwealth United Entertainment. By 1971, AIP had released 31 films—its peak annual production—and was regarded as one of Hollywood’s most financially stable studios, notably steering clear of focusing on R- or X-rated material.
Co-founder James H. Nicholson departed in 1972 to launch Academy Pictures Corporation at 20th Century Fox, which released only two films: The Legend of Hell House and Dirty Mary, Crazy Larry. Before his death later that year from a brain tumor, AIP reacquired over 100,000 of Nicholson’s shares.
During this period, Roger Corman ended his production relationship with AIP to focus on his own company, New World Pictures. Filmink described Corman’s departure as coinciding with the split between Nicholson and Arkoff—comparable to “two parents divorcing when their eldest child moves out.”
Arkoff’s Solo Leadership
After Nicholson left, Arkoff continued as AIP president throughout the 1970s. Production leadership included Larry Gordon from 1972 to 1974 and Jere Henshaw from 1977 until the company's closure.
With horror’s popularity waning, AIP pivoted toward genres such as kung fu and gangster films. The company also produced significant blaxploitation movies like Blacula and Foxy Brown, which played a key role in establishing Pam Grier as a leading star through contract projects.
In the mid to late 1970s, AIP broadened its offerings to include mainstream titles such as Bunny O'Hare, Cooley High, The Amityville Horror, Love at First Bite, and Force 10 from Navarone. However, the escalating budget of the all-star disaster movie Meteor, which reached $16 million, heavily contributed to financial difficulties. The studio’s last foreign release was the Australian film Mad Max, adapted for American audiences.
Sylvia Nicholson, widow of James Nicholson and a significant shareholder, initiated legal action against AIP for alleged mismanagement; this dispute was resolved in 1978 when AIP purchased her shares.
Merger with Filmways
By the late 1970s, rising production expenses alongside AIP's move toward higher-budget films failed to translate into box office success, prompting Arkoff to explore merger options. He remarked, “We’ve been the Woolworths of the movie business, but Woolworths is being outpriced.” Initial merger discussions with Filmways, Incorporated stalled but later resumed. In 1979, following the commercial failure of Meteor, AIP was acquired by Filmways for $30 million and rebranded as Filmways Pictures in 1980.
Unhappy with the company’s new direction under Filmways, Arkoff resigned and founded his own production firm, receiving a $1.4 million severance.
AIP-TV was incorporated into Filmways Television’s syndication division. Filmways itself was purchased by Orion Pictures in 1982 and renamed Orion Pictures Corporation, maintaining its distribution arm to build an independent distribution network after previously relying on Warner Bros. Warner Bros. continues to hold distribution rights for Orion films originally released by AIP. Presently, most of the AIP catalog is owned by Amazon MGM Studios through Orion Pictures. The American International trademark remains registered under Amazon MGM Studios’ Orion division.
Relaunch
On October 7, 2020, Metro-Goldwyn-Mayer revived the AIP brand as a label dedicated to films acquired for digital distribution and limited theatrical showings. MGM oversees the streaming availability of AIP's catalog, while theatrical releases are managed through its partnership with United Artists Releasing. The inaugural film released under this renewed AIP banner was Breaking News in Yuba County, directed by Tate Taylor and featuring Allison Janney, premiering on February 12, 2021.
In May 2021, specifically on the 17th, Amazon initiated talks to purchase MGM, proposing a bid near $9 billion. The acquisition was publicized on May 26, 2021, with Amazon agreeing to buy MGM for $8.45 billion pending regulatory consent. Post-acquisition, MGM operates as a label within Amazon’s structure, maintaining AIP and its associated titles. The merger was finalized on March 17, 2022. Subsequently, on March 4, 2023, Amazon discontinued United Artists Releasing's operations, integrating them into MGM. By May 2023, Amazon Studios established Amazon MGM Studios Distribution, an international distribution division for film and television projects from both MGM and Amazon, including fresh releases and acquisitions from AIP.
Legacy
In 2005, filmmaker and co-founder of Troublemaker Studios, Robert Rodriguez, founded a horror-focused film and television company named Rodriguez International Pictures as an homage to the original enterprise.
1950s
| Release date | Title | Genre | Director |
|---|---|---|---|
| as American Releasing Corporation | |||
| February 15, 1955 | The Fast and the Furious | Crime | John Ireland |
| April 15, 1955 | Five Guns West | Western | Roger Corman |
| May 15, 1955 | Outlaw Treasure | Western | Oliver Drake |
| June 15, 1955 | The Beast with a Million Eyes | Sci-fi | David Kramarsky Lou Place Uncredited: Roger Corman |
| September 15, 1955 | Apache Woman | Western | Roger Corman |
| October 25, 1955 | Operation Malaya | Documentary | David MacDonald |
| December 1955 | Day the World Ended | Sci-fi | Roger Corman |
| The Phantom from 10,000 Leagues | Sci-fi | Dan Milner | |
| June 15, 1956 | The Oklahoma Woman | Western | Roger Corman |
| Female Jungle | Crime | Bruno VeSota | |
| June 1956 | Gunslinger | Western | Roger Corman |
| as American International Pictures | |||
| July 15, 1956 | It Conquered the World | Sci-fi | Roger Corman |
| The She-Creature | Horror | Edward L. Cahn | |
| July 1956 | Girls in Prison | Crime | Edward L. Cahn |
| Hot Rod Girl | Action | Lew Landers | |
| July 15, 1956 | Runaway Daughters | Crime | Edward L. Cahn |
| Shake, Rattle & Rock! | Musical | Edward L. Cahn | |
| January 1957 | Naked Paradise | Crime | Roger Corman |
| Flesh and the Spur | Western | Edward L. Cahn | |
| March 1, 1957 | Voodoo Woman | Horror | Edward L. Cahn |
| The Undead | Horror | Roger Corman | |
| April 24, 1957 | Dragstrip Girl | Action | Edward L. Cahn |
| Rock All Night | Crime | Roger Corman | |
| June 19, 1957 | I Was a Teenage Werewolf | Horror | Gene Fowler Jr. |
| Invasion of the Saucer Men | Sci-fi | Edward L. Cahn | |
| August 1957 | Naked Africa | Documentary | Ray Phoenix |
| The White Huntress | Adventure | George P. Breakston | |
| August 1957 | Reform School Girl | Crime | Edward Bernds |
| Rock Around the World | Musical | Gerard Bryant | |
| October 22, 1957 | Motorcycle Gang | Outlaw biker | Edward L. Cahn |
| Drama | Roger Corman | ||
| October 25, 1957 | Sci-fi | Bert I. Gordon | |
| Horror | Alfred Shaughnessy | ||
| November 23, 1957 | Horror | Herbert L. Strock | |
| Horror | Herbert L. Strock | ||
| December 1957 |
The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent |
Adventure | Roger Corman |
| Sci-fi horror | Ronald V. Ashcroft | ||
| January 1958 | Horror | Alex Nicol | |
| Sci-fi | Robert J. Gurney Jr. | ||
| February 1958 | War | Edward L. Cahn | |
| War | Edward L. Cahn | ||
| March 1958 | Drama | William Witney | |
| Drama | David Bradley (director) | ||
| May 28, 1958 | Crime | William Witney | |
| Action | Roger Corman | ||
| June 1958 | Crime | Edward Bernds | |
| Drama | Lew Landers | ||
| July 1, 1958 |
Horror |
||
|
Sci-fi |
|||
|
align= "right" rowspan= "2"| July 30, 1958 |
Sci-fi |
||
|
Sci-fi |
|||
|
align= "right" rowspan= "2"| July 1958 |
War |
||
|
War |
Sherman A. Rose | ||
|
align= "right" rowspan= "2"| August 1958 |
Sci-fi horror |
||
|
Adventure |
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|
align= "right" rowspan= "2"| September 1958 |
Sci-fi horror |
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|
Sci-fi |
|||
|
align= "right" rowspan= "2"| December 1958 |
War |
||
|
War |
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|
align= "right" rowspan= "2"| March 1959 |
Action |
Arthur Swerdloff | |
|
Crime |
Lou Place | ||
|
align= "right" rowspan= "2"| March 1959 |
War |
Burt Topper | |
|
War |
Louis Clyde Stoumen | ||
|
align= "right" rowspan= "2"| April 29, 1959 |
Horror |
Peter Graham Scott | |
|
Horror |
Arthur Crabtree | ||
|
align= "right" rowspan= "2"| July 1959 |
Romance |
Burt Topper | |
|
Ghost of Dragstrip Hollow |
Horror |
William J. Hole Jr. | |
|
Sheba and the Gladiator |
Sword-and-sandal |
Guido Brignone | |
|
Goliath and the Barbarians |
Sword-and-sandal |
Carlo Campogalliani | |
|
A Bucket of Blood |
Horror |
Roger Corman | |
|
Attack of the Giant Leeches |
Sci-fi horror |
Bernard L. Kowalski | |
1960s
align = "right" | March 7, 1962 | The Premature Burial | Horror | Roger Corman align = "right" | March 10, 1962 | Journey to the Seventh Planet | Sci-fi | Sidney W. Pink align = "right" | April 21, 1962 | Duel of Fire | Adventure | Umberto Lenzi align = "right" | April 25, 1962 | Burn, Witch, Burn | Horror | Sidney Hayers align = "right" | June, 1962 | The Prisoner of the Iron Mask | Adventure | Francesco De Feo align = "right" | June 6, 1962 | A House of Sand | Drama | Robert Darwin align = "right" rowspan=2 | July 4, 1962 | Tales of Terror | Horror | Roger Corman Panic in Year Zero! | Nuclear war thriller | Ray Milland align = "right" rowspan=2 | August 10, 1962 | The Brain That Wouldn't Die | Sci-fi | Joseph Green Invasion of the Star Creatures | Sci-fi comedy | Bruno VeSota align = "right" | August, 1962 | Marco Polo (film) | Adventure | Piero Pierotti align = "right" | September, 1962 | White Slave Ship | Adventure | Silvio Amadio align = "right" | November 18, 1962 | A Story of David | Biblical drama based on Bible story/ Biblical genre/ Religious film/ Faith-based drama/ Christian epic/ Biblical cinema/ Biblical epic/ Religious movie/ Faith-based film/ Christian drama/ Biblical epic/ Biblical cinema/ Biblical drama/ Biblical epic/ Biblical cinema/ Biblical drama/ Biblical epic/ Biblical cinema/ Biblical drama/ Biblical epic/ Biblical cinema/ Biblical drama/ Biblical epic/ Biblical cinema/ Biblical drama/ Biblical epic/ Biblical cinema / Bob McNaught align = "right" rowSpan=3 Decembe...1970s
1980s
| Release date | Title | Genre | Director |
|---|---|---|---|
| 1970 | Pacific Vibrations | Documentary | John Severson |
| January 1970 | The Savage Wild | Documentary | Gordon Eastman |
| January 1970 | Scream and Scream Again | Sci-fi thriller | Gordon Hessler |
| January 14,1970 | The Dunwich Horror | Horror | Daniel Haller |
| March24,1970 | Bloody Mama | Drama | Roger Corman |
| April15,1970 | The Haunted House of Horror | Slasher | Michael Armstrong |
| April15,1970 | The Crimson Cult | Horror | Vernon Sewell |
| May8,1970 | Lola | Romantic comedy-drama | Richard Donner |
| June1970 | A Bullet for Pretty Boy | Action | Larry Buchanan |
| June10,1970 | Count Yorga, Vampire | Horror | Bob Kelljan |
| July22,1970 | Cry of the Banshee | Horror | Gordon Hessler |
| September2,1970 | Angel Unchained | Outlaw biker film | Lee Madden |
| September9,1970 | Venus in Furs | Erotic thriller | Jesús Franco |
| October22,1970 | The Vampire Lovers | Horror | Roy Ward Baker |
| November1970 | Bora Bora | Drama | Ugo Liberatore |
| Release date | Title | Genre | Director | Notes |
|---|---|---|---|---|
| February15,1980 | Mad Max’’ | Action &| George Miller &| Australian dystopian sci-fi film dubbed for American audiences | ||
2020s
| Release date | Title | Genre | Director | Notes |
|---|
Unproduced films
Several announced but ultimately unmade projects by AIP included adaptations and original concepts such as:
- ‘’She: A History of Adventure’’ (1958), directed by Roger Corman,
- ‘’Even and the Dragon’’ (1958),
- ‘’Take Me to Your Leader’’ (1958), a partly animated feature,
- ‘’Aladdin and the Giant’’ (1959), produced by Herman Cohen,
- ‘’In the Year 2889’’ (1959), adapted from Jules Verne’s work,
- ‘’When the Sleeper Wakes’’ (circa 1960–62), a H.G. Wells adaptation announced in ’65 starring Vincent Price,
- Color remake plans for Fritz Lang’s ‘’Metropolis’’ (1961),
- ‘’Genghis Khan’’ from the ’60s directed by Jacques Tourneur with a $4.5 million budget designed as a roadshow presentation,
- ‘’War of the Planets’’ (1962), a $2 million science fiction epic featuring Vincent Price and Boris Karloff with screenplay by Harlan Ellison.
Additional projects included Jules Verne adaptations like ‘’Off on a Comet’’, sci-fi and horror titles such as ‘’It’s Alive’’, as well as musicals starring Annette Funicello and Frankie Avalon. These unrealized films illustrate AIP’s intent to broaden its genre range and capitalize on prominent talent to enhance its market footprint.
Financial Performance
- 1970 – Revenue of $22.7 million
- 1971 – Revenue of $21.4 million
- 1972 – Revenue reached $24 million
- 1973 – Generated $24.5 million in revenue; net income was $744,000
- 1974 – Recorded $32.5 million in revenue; net profit amounted to $931,400
- 1975 – Revenue climbed to $48.2 million
- 1978 – Achieved $51.2 million in revenue; net earnings totaled $1.8 million
References
External links
- Archive of American International Pictures maintained by AIP historian Kliph Nesteroff