The Asylum
| Company type | Private |
|---|---|
| Industry | Film production, Film distribution |
| Founded | 1997 |
| Founder | David Michael Latt, David Rimawi, Sherri Strain |
| Headquarters | Burbank, California , United States |
| Products | Low-budget films, Mockbusters |
The Asylum is an independent American film production and distribution firm headquartered in Burbank, California. It specializes in producing low-budget, direct-to-video movies, with a particular emphasis on mockbusters—films designed to capitalize on the success of major studio releases by mimicking similar titles and themes. The company's operational strategy revolves around swiftly producing inexpensive films, each typically generating profits between $150,000 and $250,000. By releasing numerous titles annually, The Asylum secures multimillion-dollar revenues and asserts it has never experienced a financial loss on any project. The production cycle for most films spans 4 to 6 months, often requiring staff to work extended hours of up to 22 per day, largely due to limited union affiliations aside from SAG-AFTRA.
Established in 1997 by entrepreneurs David Michael Latt, David Rimawi, and Sherri Strain, The Asylum began as a distributor of low-budget dramas. Confronted with competition from larger companies such as Lionsgate Films, the firm transitioned to producing its own films internally during the early 2000s. A defining moment occurred in 2005 when their movie H. G. Wells' War of the Worlds was released just one day prior to Steven Spielberg's War of the Worlds. A major purchase order of 100,000 units from Blockbuster confirmed the viability of this approach and encouraged further concentration on mockbusters.
This methodology facilitated collaborations with broadcasters like Syfy and streaming services including Pluto TV and Tubi, broadening their international reach. The Asylum achieved widespread recognition with the 2013 viral sensation Sharknado, which led to a successful franchise and inspired Syfy to commission the zombie-themed series Z Nation, which aired for five seasons.
1997–2009
In 1997, The Asylum was launched by business professionals David Latt, David Rimawi, and Sherri Strain. Prior to founding the company, Rimawi and Strain had experience at Village Roadshow Pictures, while Latt came from a background in educational software development. Initially concentrating on distributing low-budget dramas such as Bellyfruit (1999) to rental outlets like Blockbuster and Hollywood Video, the company shifted focus toward direct-to-video horror films in response to market trends.
Facing challenges competing with larger distributors who offered more attractive deals, The Asylum revamped its business model around 2002 to prioritize internal film production with an aim of releasing one film per month, beginning with the crime thriller King of the Ants. That year also saw Strain depart from the company, with former Screen Actors Guild staff member Paul Bales stepping in as COO.
The company's first notable commercial breakthrough came with Vampires vs. Zombies (2004), considered its inaugural mockbuster due to its similarity to Freddy vs. Jason. During this period, Latt developed an adaptation of The War of the Worlds, but faced competition from Steven Spielberg’s high-profile version. A crucial order from Blockbuster enabled The Asylum to release H. G. Wells' War of the Worlds in June 2005, one day ahead of Spielberg’s movie.
Following this achievement, The Asylum adopted a strategy centered on producing low-budget films that coincided with major studio releases—commonly referred to as mockbusters—including titles like King of the Lost World (inspired by King Kong), Snakes on a Train (modeled after Snakes on a Plane), The Da Vinci Treasure (based on The Da Vinci Code), and Transmorphers (influenced by Transformers). In 2008, they increased their production budgets and established partnerships with Syfy for television premieres such as The Day the Earth Stopped, which attracted legal scrutiny from 20th Century Fox but did not result in litigation due to trademark protections related to film titles.
By focusing strategically on mockbusters, The Asylum has carved out a competitive niche by leveraging familiar titles without infringing on intellectual property rights, enabling steady growth through high-volume production and targeted marketing efforts.
2010–present
During the early 2010s, with the emergence of video on demand (VOD) platforms, The Asylum redirected its efforts toward digital distribution channels. To secure prominent placement in alphabetical VOD catalogs, the company incorporated numbers or symbols into their movie titles, examples being #1 Cheerleader Camp and 2-Headed Shark Attack. To enhance visibility on VOD platforms, they released Hold Your Breath in a limited theatrical run across 10 AMC Theatres, as priority was given to theatrical releases. Pluto TV evolved into their primary revenue generator through a dedicated channel, while Tubi ordered a dozen original productions following the success of Titanic II. By 2012, founder David Rimawi estimated that original stories accounted for approximately 70% of their film output.
The studio's major breakthrough occurred in 2013 with the release of Sharknado, which depicted a tornado releasing sharks over Los Angeles. The film quickly went viral, accumulating more than 387,000 social media mentions and attracting extensive media coverage, including features on Today and a tweet from LA Mayor Eric Garcetti. This success led to five sequels and substantially increased The Asylum's revenue—nearly quadrupling it compared to figures from three years earlier—through combined earnings from merchandising and licensing. CEO David Latt acknowledged that Sharknado significantly elevated the studio's profile and remains a cornerstone in their production strategy.
Capitalizing on the momentum from Sharknado, Syfy commissioned The Asylum's first serialized project: the zombie-themed series Z Nation, loosely inspired by their film Rise of the Zombies. The narrative follows survivors escorting an immune individual to a CDC lab for research. Frequently likened to The Walking Dead, Z Nation aired for five seasons on Syfy and eventually led to the spinoff series Black Summer on Netflix. Later, Bales cited the high production expenses of Z Nation as a factor prompting a shift toward more cost-effective projects; consequently, their next series, Crisis Earth, was structured as three low-budget films intended to be edited into six episodes. Its screenplay was presented at the 2022 American Film Market.
Approach to filmmaking
The Asylum’s operational model centers on rapidly producing numerous low-budget films. Typical production costs range between $250,000 and $500,000 per title, with each film generating profits estimated between $150,000 and $250,000. By releasing dozens of movies annually, this method produces multi-million dollar revenues; between October 2011 and 2012 alone, The Asylum reported $12 million in revenue with a profit margin near 15 percent. Founder David Rimawi attributes their sustained success to consistently producing films below expected earnings thresholds and steering clear of high-budget ventures to maintain steady profitability.
Film creation generally spans four to six months and begins by soliciting concise 100-word story proposals from freelance writers based on concepts requested by distribution partners. The studio selects the strongest pitch, then commissions a draft within ten days. Despite often outlandish premises, The Asylum’s films maintain a serious tone; for instance, initial comedic aspects in Sharknado were removed to emphasize earnestness.
When developing mockbusters, The Asylum focuses on major releases featuring public domain characters such as Sherlock Holmes or Thor. Although their titles resemble blockbuster counterparts, scripts frequently differ considerably due to limited access to information about the original films. This approach exploits market timing and consumer interest without infringing on intellectual property rights.
The studio maintains an exclusive affiliation with SAG-AFTRA, resulting in demanding schedules where staff may work shifts extending up to 22 hours. Unlike large studios that typically shoot one script page per day, The Asylum averages shooting 10 to 12 pages daily. They employ seasoned filmmakers and allocate roughly $150,000 per film for lesser-known actors who appeal to niche audiences; for example, former stars of Baywatch attract viewers in European markets. Rimawi notes that while they avoid high-profile celebrities, they target actors connected to recognizable names or emerging talents willing to work efficiently.
Post-production takes place at their Burbank headquarters, which houses editing suites and visual effects departments. Although their visual effects often receive criticism for quality shortcomings, The Asylum employs around 15 artists who simultaneously work across multiple projects to meet tight deadlines.
Marketing efforts highlight the campy nature of their films and business model. Campaign slogans include "15 years. 100 films. You're Welcome" and "Enough Said" for Sharknado. Their promotional strategy parodies traditional studios while synchronizing mockbuster releases with major studio films, offering consumers alternative viewing options. The company openly acknowledges employing strategic marketing tactics aimed at increasing visibility and consumer demand—for example, encouraging fans to add their titles to streaming service queues to influence algorithmic recommendations.
This streamlined production and marketing methodology underpins The Asylum’s competitive edge within the independent film sector, supporting ongoing growth and market presence despite limited budgets and critical reception challenges.
Reputation and analysis
The Asylum has garnered a polarizing image within the cinematic world. The majority of its productions have faced harsh critical reviews, with their mockbusters frequently criticized as blatant attempts to exploit popular titles for profit. Film producer Brian Grazer described The Asylum as "pollution in Hollywood," emphasizing its contentious role. Nonetheless, founder David Michael Bales maintains that the company's appeal extends beyond mere misleading promotion. Some experts propose that audience fascination is fueled by an appetite for campy films that are enjoyed precisely because they are "so bad they're good."
A number of journalists defend The Asylum’s approach as emblematic of wider trends in the entertainment sector. Greg Hudson from Sharp characterizes the studio as a smaller-scale representation of American cinema, pointing out that imitation products are common throughout Hollywood and other industries. Amy Nicholson of Boxoffice praises The Asylum for embracing outrageous storylines, contrasting this with major studios that often rely on formulaic conclusions. For instance, while the mainstream film Snakes on a Plane failed to meet viewers’ expectations due to its predictability, The Asylum's version, Snakes on a Train, features a colossal snake consuming the train, directly appealing to audience desires.
David Roth of Slate contends that The Asylum’s mockbusters serve as effective parodies of the blockbuster films they emulate. He highlights Sir Arthur Conan Doyle's Sherlock Holmes, which incorporates dinosaurs and dragons to lampoon the action and humor found in Guy Ritchie’s Sherlock Holmes. Roth argues that as Hollywood blockbusters grow increasingly serious and grandiose, there is a rising appetite for straightforward, low-budget imitations that reflect their silliness.
This complex reputation highlights The Asylum’s distinctive niche within the industry, skillfully combining commercial tactics with targeted market appeal through its unique business approach and film offerings.
Catalog
The Asylum has produced more than 500 films, including around 300 original works, with a primary emphasis on disaster, horror, and science fiction genres. Their business model focuses on creating low-cost movies that leverage current popular trends to secure a foothold in specialized market segments. Key titles include: