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New Concorde

New Concorde is an American company founded by in 1983. Originally named Concorde-New Horizons until 2000, it was formed by merging Concorde Pictures and Pictures, evolving from Corman's earlier venture , which he sold that year. The company specialized in low-budget genre films and was among the first to capitalize on the market for distribution. It produced over 120 films and distributed dozens more, focusing on direct-to-video releases in genres like , , and . In 2000, it rebranded as New Concorde and reorganized its operations. As of 2018, New Concorde became a of Shout! Studios, based in , .

History

New World Pictures era

was founded in 1970 by filmmaker and his brother Gene Corman as an independent production and distribution company specializing in low-budget exploitation and genre films. The company's business model centered on swift, cost-effective film production to capitalize on drive-in and markets, alongside the importation and U.S. distribution of international films for broader appeal and revenue streams, all without dependence on major studio financing. A notable example was its early acquisition of Ingmar Bergman's (1972), which helped establish as a bridge between B-movies and art cinema. By 1983, had produced and distributed more than 100 films, achieving commercial success with titles such as (1975), a satirical dystopian that grossed over $5 million domestically, and had begun leveraging its catalog through television syndication deals. In 1979, the company expanded its portfolio by acquiring U.S. distribution rights to several European art films, including Federico Fellini's (1973, US release 1974), to offset the risks of its domestic genre output and attract upscale audiences. Roger Corman departed in 1983 amid creative and operational differences with evolving company priorities, selling the studio to investors Larry Kupin, Harry E. Sloan, and Larry A. Thompson for $16.5 million to pursue independent projects. This transition directly led to the formation of Concorde-New Horizons as his next venture.

Formation of Concorde-New Horizons

Following the sale of New World Pictures in early 1983, Roger Corman launched Millennium Pictures in 1982 as a short-lived interim production entity, which rapidly evolved into Concorde Pictures by October 1983. This shift allowed Corman to refocus on independent filmmaking without the burdens of prior distribution commitments. Concorde Pictures emphasized production, drawing on cost-cutting techniques honed during the New World Pictures era, such as efficient scheduling and resource sharing. In October 1983, Corman merged the production-oriented Concorde Pictures with the newly renamed Pictures—formerly Productions—as the distribution arm, forming Concorde-New Horizons (CNH) to manage the full cycle of low-budget filmmaking independently. The company was officially established in , with operations centered on streamlined genre films. Initial funding came from the $16.5 million proceeds of the sale, enabling CNH to target an output of 12 to 18 films annually, each with budgets under $2 million. Among CNH's early strategic moves was a with Cinema Group for video distribution and international sales, securing outlets for its initial releases and supporting self-sufficient operations. This setup positioned CNH as a vertically integrated entity, prioritizing quick-turnaround productions in horror, action, and sci-fi genres to capitalize on the emerging market.

Operations and expansion (1983–1999)

Following its formation in 1983 through the merger of Concorde Pictures and , Concorde-New Horizons quickly scaled operations to capitalize on emerging markets in and , producing low-budget action, sci-fi, and horror films primarily for non-theatrical distribution. The company averaged 15-20 films annually during the 1980s, reaching over 50 productions by 1990 through efficient, cost-conscious strategies that included international co-productions in locations like the and , where subsidies, lower labor costs, and local partnerships enabled significant savings. For instance, collaborations with Argentine studio Producciones Cinematográficas yielded nine films between 1983 and 1990, leveraging regional incentives to keep budgets under $2 million per project. The late 1980s brought challenges as the home video market, which had boomed earlier in the decade, faced saturation from oversupply and slowing rental growth, prompting independents like to pivot further toward releases to maintain profitability without theatrical risks. In response, the company launched as a dedicated in 1989 to handle distribution, streamlining its focus on the burgeoning cassette market while avoiding dependence on rental chains. This shift emphasized direct sales and licensing, which became the core of its revenue model, allowing avoidance of costly theatrical marketing and exhibition losses that plagued many low-budget indies. Key expansions in distribution bolstered growth, including early agreements that secured premium outlets for its output. In 1985, Concorde-New Horizons entered deals with for pay-cable programming, providing a steady revenue stream for its genre titles. By the mid-1990s, this evolved into a prominent partnership with Showtime, launching the "Roger Corman Presents" anthology series in 1995, which featured 13 original straight-to-cable films produced exclusively for the network over several seasons. These deals not only expanded reach but also stabilized finances amid market volatility. Production volume continued to rise into the late 1990s, with annual output peaking at 20-25 films by 1997, driven by in-house efficiencies and international shooting that kept per-film costs low at $1-2 million. Overall, the company amassed over 250 titles by 1999, solidifying its role as a leading independent producer through adaptive strategies that prioritized volume, niche markets, and cost control over prestige theatrical runs.

Rebranding and dissolution (2000–2018)

In early 2000, Roger Corman renamed Concorde-New Horizons to New Concorde and reorganized it into New Concorde Home Entertainment to streamline operations with a greater emphasis on home video distribution. This shift aligned with the burgeoning DVD market, though the company's output of original theatrical films gradually declined as resources pivoted toward television productions and library management. By the mid-2000s, annual film productions had slowed, influenced by the rise of digital streaming platforms that disrupted traditional low-budget distribution models. During the 2000s, New Concorde focused on the "Roger Corman Presents" anthology series for networks like Showtime and the Sci Fi Channel (later Syfy), producing made-for-TV movies in genres such as sci-fi and horror, including Black Scorpion (2001) and Sharktopus (2010). These efforts sustained the company amid market changes, building on the expansion strategies of the prior two decades that had amassed a substantial film library. By 2010, Shout! Factory had secured exclusive North American home video rights to dozens of titles from the catalog, signaling a maturing focus on reissues rather than new content. In the late 2000s, the company reverted to the name, becoming known as New Horizons Picture Corp., to evoke its foundational legacy in independent filmmaking. Original productions continued at a reduced pace into the , with low-budget horror and creature features like (2015) marking some of the final efforts under Corman's direct oversight. By this period, the library encompassed over 270 films and one action sci-fi TV series. The company's dissolution culminated in March 2018, when Roger and sold the library to Shout! Factory and China's Ace Film HK Company Limited, granting the buyers rights for North American distribution, international sales, remakes, and merchandise development. This transaction ended Corman's hands-on involvement after more than three decades, allowing Shout! Factory to reissue much of the catalog on Blu-ray and maintain its cult following.

Operations

Production practices

New Concorde specialized in low-budget , particularly in , , and , with production budgets generally ranging from under $1 million to $2 million per picture. These constraints fostered resourceful , emphasizing efficiency and creativity within limited resources. The company employed non-union crews, often comprising newcomers eager for experience, which helped maintain tight control over labor costs while providing . Shooting schedules were expedited, typically spanning just a few weeks, as exemplified by the 1993 production of Carnosaur, which wrapped quickly enough to release ahead of major competitors like . This approach allowed New Concorde to produce 15 to 24 films annually, prioritizing speed without sacrificing basic production values. Roger Corman maintained a hands-on role as for the majority of New Concorde's output, overseeing development and post-production to ensure alignment with market demands. His involvement extended to mentoring emerging filmmakers and actors, creating a pipeline of through practical, high-volume projects. Innovations such as multi-picture deals with performers like Don "The Dragon" Wilson enabled cost-effective and franchise continuity in action series. Additionally, the reuse of sets, props, and even footage across multiple films minimized expenses and streamlined workflows. To further reduce overhead, New Concorde pursued international co-productions in tax-advantaged locations including , , , and other global sites, leveraging lower labor and facility costs compared to U.S. productions. These partnerships not only cut expenses but also incorporated diverse creative input, though they sometimes resulted in improvised adaptations due to logistical challenges. Underpinning these methods was Corman's "fast, cheap, and profitable" philosophy, which prioritized rapid turnaround and audience appeal over polished perfection, yielding a prolific catalog of and limited theatrical releases.

Distribution strategies

New Concorde, operating initially as Concorde-New Horizons following its founding in 1983, began with limited theatrical releases for select low-budget films through independent distributors, such as the 1988 horror-comedy , which received a U.S. theatrical rollout via Concorde Pictures. Recognizing the rapid growth of the home video sector, the company pivoted to distribution as its core strategy, producing films specifically for this market to achieve financial viability through affordable release channels and broad accessibility via video rentals. By the early 1990s, the majority of Concorde-New Horizons' output was aimed at direct-to-video, enabling a high-volume release model that saturated the market with action, horror, and sci-fi titles. Early home video partnerships included deals with MGM/UA Home Video, which handled VHS releases for films like Bloodfist (1989), and Warner Home Video for other titles in the catalog. In 1991, after successfully suing MGM/Pathe Communications to reclaim rights to over 250 titles from his library, Corman restructured operations under New Horizons for enhanced control over distribution. International distribution formed a key component, with the company frequently selling rights at global film markets; for instance, in 1995, Concorde-New Horizons presented a slate including Black Rose of Harlem at the Milan Film Market to secure overseas deals. Post-1995, strategies expanded to include cable television licensing, as Corman noted resorting to pay-cable outlets like Showtime for additional revenue streams on titles that bypassed theaters. Into the , under the New Concorde name, distribution adapted to digital platforms, culminating in a 2005 twelve-year DVD agreement with Buena Vista Home Entertainment for over 400 Corman-produced films.

Home video division

New Horizons Home Video was established in 1989 as the dedicated home video distribution arm of Roger Corman's (CNH), initially focusing on releases of the company's low-budget genre films. This launch capitalized on the growing market, allowing CNH to bypass limited theatrical opportunities and reach consumers directly through affordable tapes of action, horror, and sci-fi titles. By the early 1990s, the division had expanded its output to include exclusive straight-to-video originals, with output peaking at 15 to 24 releases per year to meet demand from video rental chains and retailers. The home video operations proved pivotal to CNH's financial stability, serving as the primary source of the company's income by through strategic deals with major retailers like and . Over its lifespan, New Horizons Home Video distributed more than 200 titles, prioritizing quick-turnaround productions that aligned with broader distribution strategies emphasizing direct-to-consumer access. Select horror releases were branded under "Roger Corman Presents" starting in 1990, enhancing market appeal for series like those featuring low-budget . By 1997, the division had broadened to and early DVD formats, adapting to technological shifts while maintaining a focus on catalog reissues. In the 2000s, as VHS declined, New Horizons shifted toward DVD box sets compiling franchise series such as Carnosaur and White Wolves, which bundled multiple entries to boost sales in the emerging digital era. Following the 2018 sale of the New Horizons library to Shout! Factory and Ace Film, the home video catalog was integrated into Shout!'s distribution network, enabling renewed physical and streaming availability across North America, Europe, and other regions. This transition preserved the legacy of CNH's video output, supporting ongoing remakes and merchandise tied to iconic titles.

Filmography

Early Concorde releases

Following the formation of in 1983 by after selling , the company quickly established itself as a prolific producer of low-budget , releasing an average of 10-12 titles annually through 1989. These early outputs blended sci-fi, fantasy, and elements, often incorporating tropes to appeal to drive-in and emerging audiences, while maintaining the fast-paced, resourceful style of Corman's prior ventures. Prominent among the initial releases were sci-fi adventures building on New World's Battle Beyond the Stars (1980), such as Space Raiders (1983), a space Western that repurposed unused footage and sets from the earlier film to depict a young stowaway's interstellar journey amid pirate raids. Action-oriented entries like Warrior of the Lost World (1983) exemplified the era's post-apocalyptic themes, following a lone biker navigating a irradiated wasteland to rescue a from a totalitarian regime, shot with economical Italian co-production resources. Sword-and-sorcery fantasies, including Deathstalker (1983), further diversified the slate, featuring a barbarian hero questing for a magical amulet in a mythical realm. Production emphasized cost efficiency, with budgets typically averaging $750,000 per film, enabling rapid shoots of 10-15 days while reusing talent from , such as actors like Rick Hill. A key innovation was pioneering distribution, which allowed Concorde to bypass theatrical limitations and target the growing market, as seen in early releases like Sahara (1983), a adventure blending action and romance. Notable for cost savings, the company ventured into international locations early on, with Deathstalker marking one of the first shoots in to leverage lower labor and set expenses for exotic fantasy backdrops.

Partnership eras

The partnership eras of New Concorde encompassed collaborative ventures with Cinema Group from 1990 to 1993, followed by a phase of independent productions from 1994 to 1999, during which the company emphasized low-budget horror and films to capitalize on the burgeoning market. This shift reflected broader industry trends toward releases, allowing Concorde-New Horizons to produce and distribute genre content efficiently without relying on major studio theatrical commitments. Under the Cinema Group partnership, which had originated in 1985 but continued into the early , co-distributed roughly 15 to 20 films annually, blending action, , and sci-fi elements to appeal to video rental audiences. Key examples included Watchers II (1990), a sequel loosely based on Dean R. Koontz's novel, where a encounters a super-intelligent linked to a lab-created monster; the film was produced by Pictures and highlighted the era's focus on . Another prominent title was Carnosaur (1993), directed by and starring as a resurrecting dinosaurs via ; this -New Horizons production grossed modestly in limited release but gained cult status on as a pre- riff on dinosaur revival tropes. These collaborations enabled wider distribution for Corman's output, leveraging Cinema Group's expertise in low-budget films. By 1994, transitioned to solo operations, maintaining a prolific pace of 15 to 20 films per year while deepening its commitment to video-centric genres like family fantasy-horror hybrids and sci-fi thrillers. Representative releases included the sequels, such as (1994), a lighthearted continuation featuring a magical genie aiding a troubled teen, which exemplified 's occasional forays into kid-friendly comedy amid its dominant slate. Other notable independent efforts encompassed remakes and genre revivals, like (1995), a gore-filled update to the 1978 parody that underscored the company's strategy of updating past hits for the boom. This solo phase solidified 's role as a key player in affordable, high-volume genre filmmaking, producing content that prioritized quick production cycles and marketable premises over big-budget spectacle.

Franchise series

New Concorde's franchise series represented a core strategy for sustaining production output through low-budget, genre-driven sequels that built on established characters and formulas, often leveraging distribution to maximize returns. These series capitalized on trends in , fantasy, and , allowing the company to produce repeatable content with minimal risk. Over its history, New Concorde developed more than 10 such series, encompassing over 50 films that accounted for approximately 40% of its total catalog. The series, spanning 1989 to 1995, featured eight martial arts action films starring kickboxer Don "The Dragon" Wilson as the lead in high-stakes tournament and revenge narratives. Produced under Corman's oversight at Concorde-New Horizons, the entries emphasized fast-paced fight choreography and exotic locations like , with each installment completed on budgets below $1 million to ensure profitability in the market. In the fantasy genre, the Deathstalker series comprised four sword-and-sorcery adventures from 1983 to 1992, produced by Roger Corman to exploit the post-Conan the Barbarian boom in low-fantasy epics. Filmed primarily in Argentina for cost efficiency, the films followed the titular warrior—portrayed by different actors across entries—in quests involving magic, monsters, and scantily clad heroines, blending campy humor with exploitation elements typical of Corman's style. The Roger Corman Presents banner in the 1990s focused on anthology-style compilations, drawing from short-form content to create feature-length films like Body Bags (), which wrapped tales of the with guest directors and cameos from genre luminaries. This approach allowed New Concorde to repurpose existing footage and talent efficiently, producing accessible packages for cable and video release. Other notable series included the Watchers franchise (1988–1995), with four films loosely adapting Dean R. Koontz's novel about a super-intelligent pursued by a genetic monster, emphasizing sci-fi under Concorde-New Horizons production.

International productions

New Concorde Productions, under , extensively utilized international locations for cost-effective filmmaking during the 1980s and early 1990s, with a particular emphasis on and for their exotic settings and economic advantages. These shoots enabled the creation of action, adventure, and fantasy genres, leveraging natural landscapes for jungle and barbarian-themed narratives while minimizing expenses through local resources. In Peru, New Concorde produced over ten films between 1987 and 1991, capitalizing on the country's dense jungles and rugged terrain for low-budget adventure stories. Key titles included Hour of the Assassin (1987), directed by Luis Llosa, which featured action sequences in Andean and Amazonian settings; Crime Zone (1988), a cyberpunk thriller blending urban and rural Peruvian locales; Heroes Stand Alone (1989), a war drama shot amid the country's diverse topography; Full Fathom Five (1990), involving submarine and coastal shoots; Ultra Warrior (1990), a post-apocalyptic tale filmed in remote wilderness areas; and Crackdown (1991), an espionage actioner. These productions benefited from Peru's status as a hub for international low-budget shoots due to affordable labor and exotic backdrops, allowing savings on set construction and transportation compared to U.S. locations. However, operations faced interruptions from the era's political unrest, including the Shining Path insurgency, which heightened security risks and contributed to a halt in major shoots by the early 1990s. Argentina served as another key production base from 1983 to 1990, where New Concorde collaborated with local filmmakers to produce around a dozen titles, often in co-production arrangements that accessed government-supported facilities and favorable economic conditions. A pivotal 1984 partnership with Argentine producers Héctor Olivera and Alejandro Sessa facilitated access to studios and crews, enabling efficient shoots for fantasy and exploitation films. Notable examples include the Deathstalker series—starting with Deathstalker (1983), directed by James Sbardellati, followed by Deathstalker II: Duel of the Titans (1987)—and Barbarian Queen (1985), starring Lana Clarkson, both utilizing Argentina's arid landscapes for sword-and-sorcery epics. Additional films like The Warrior and the Sorceress (1984), Wizards of the Lost Kingdom (1985), and Cocaine Wars (1986) drew on local talent and tax breaks or currency advantages to reduce costs, fostering creative exchanges such as casting Argentine actors and incorporating regional production expertise. These efforts not only lowered budgets but also supported Argentina's film industry during economic challenges, though declining incentives and political shifts limited further activity by the late 1980s. The Deathstalker and Barbarian Queen franchises, in particular, exemplified how these locations enhanced the visual spectacle of New Concorde's series. Overall, these international efforts accounted for approximately 20-25 titles, comprising about 30% of New Concorde's library of over 120 films, with logistical benefits like local crews and incentives outweighing occasional hurdles until digital production trends and global instability reduced overseas shoots after 2000.

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