Biography for
Samuel Z. Arkoff More at IMDbPro »

Date of Birth

12 June 1918, Fort Dodge, Iowa, USA

Date of Death

16 September 2001, Burbank, California, USA (natural causes)

Birth Name

Samuel Zachary Arkoff

Nickname

Sam

Mini Biography

By the early 1950's, Samuel Z. Arkoff was a brash 30-ish lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now-infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. As a shark, Arkoff was physically imposing and capable of scaring the snot out of anyone who opposed him. One of his penny ante clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year-old movies, often under new titles conjured up by it's owner, Jack Broder. One such film, Man Made Monster (1941), had just been re-issued as "The Atomic Monster", coincidentally the same title of Gordon's screenplay. Zarkoff, smelling blood in the water, paid Mr. Broder a visit and incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson was dumbfounded by Zarkoff's ability to extract a dime out of his congenitally tightfisted boss and proposed a partnership. American Releasing Corporation was founded in 1954 and their first release was a low-budget feature by 29-year old producer, Roger Corman. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner. By 1955, the company was renamed American International Pictures, or simply AIP, within the industry. Initially focusing on westerns on the premise that locations came cheap and, although profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats. By the mid-1950's, thanks to television, the audience numbers had dwindled considerably with the key demographic now teenagers and young adults, who craved horror movies and drive-ins. AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends. AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock'n'roll, from juvenile delinquency to Italian muscle-men, and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than AIP's movies. Arkoff never tolerated egos and his films were more often than not, profitable, thanks to tight budgets and a sharp understanding of the target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures.

IMDb Mini Biography By: Tom Weaver <TomWeavr@aol.com> and Jack Backstreet

Spouse

Hilda

(1945 - 26 July 2001) (her death)

Trivia

Father of Lou Arkoff and Donna Roth.

Father-in-law of Joe Roth.

He was a lawyer. He graduated from Loyola Law School in Los Angeles in 1948.

Hilda, his wife of 55 years, died in July 2001. Sam died less than two months later.

Explained his "ARKOFF Formula" for making a successful movie, during a 1980s TV appearance: A good movie should include Action (excitement and drama), Revolution (controversial or revolutionary ideas), Killing (a degree of violence), Oratory (memorable speeches and dialogue), Fantasy (popular dreams and wishes acted out), and Fornication (sex appeal, to both sides).

Interviewed in "Interviews with B Science Fiction and Horror Movie Makers: Writers, Producers, Directors, Actors, Moguls and Makeup" by Tom Weaver (McFarland 1988).

Personal Quotes

On the morning Jim [James H. Nicholson, his partner at American International Pictures] would come in and say, "What do you think of this title: The Beast with a Million Eyes (1955)?" Ahhh, I could hear the money rolling in.

Exhibitors would come up to me and say "Sam, if we could just punch sprocket holes in the campaign and throw the film away...."

Thou shalt not put too much money into one picture. And the money you do spend, put it on the screen; don't waste it on the egos of actors or on nonsense that might appeal to serve highbrow critics.

[on working with Basil Rathbone] I still felt that he was playing other kinds of roles a bit. My guess is that he was doing horror more for the money then because he really loved it. I always had the feeling about Basil that he would just as soon have been in a different kind of picture.