Emphasis On Teenagers
When many of ARC/AIP's first releases failed to earn a profit, Arkoff quizzed film exhibitors who told him of the value of the teenage market as adults were watching television. AIP stopped making Westerns with Arkoff explaining: "To compete with television westerns you have to have color, big stars and $2,000,000".
AIP was the first company to use focus groups, polling American teenagers about what they would like to see and using their responses to determine titles, stars, and story content. AIP would question their exhibitors (who often provided 20% of AIP's financing) what they thought of the success of a title, then would have a writer write a script for it. A sequence of tasks in a typical production involved creating a great title, getting an artist such as Albert Kallis who supervised all AIP artwork from 1955–73 to create a dynamic, eye-catching poster, then raising the cash, and finally writing and casting the film.
Read more about this topic: American International Pictures
Famous quotes containing the words emphasis on, emphasis and/or teenagers:
“As our disorderly, competitive technological society is piling up its victims and constantly developing new problems of maladjustment, we must use our scientific knowledge to determine the cause and prevention of suffering rather than putting all our emphasis on its alleviation ...”
—Agnes E. Meyer (18871970)
“The community and family networks which helped sustain earlier generations have become scarcer for growing numbers of young parents. Those who lack links to these traditional sources of support are hard-pressed to find other resources, given the emphasis in our society on providing treatment services, rather than preventive services and support for health maintenance and well-being.”
—Bernice Weissbourd (20th century)
“The years when we are parenting teenagers are the high point, the crest when everything seems to be in bright colors and in ten-foot letters.”
—Jean Jacobs Speizer. Ourselves and Our Children, by Boston Womens Health Collective, ch. 4 (1978)