A Brief History of Paramount Pictures | THE STUDIOS

A Brief History of Paramount Pictures | THE STUDIOS


The Fifth Oldest studio in the world and the
only one still headquartered in Hollywood, Paramount was the symbol of the power in the
American Film Industry – so much so that the United States Government named them first
in a landmark anti-trust case that ended the so called Golden Era of Hollywood. Grab a
seat cupcake as we layout a brief history of Paramount Pictures. The Studios is made possible by the our wonderful
patrons at Patreon – help support this channel with a monthly contribution! You want to know about Paramount? Well you
gotta start with this guy, probably one of the greatest moguls of Hollywood – Adolph
Zukor. Zukor was born in Hungary and at the age of
16, he promised a girl four years his senior, that he would go to America, become a great
success and send for her so they could be married. Cool your jets casanova, this isn’t that
kind of love story – he never did speak to her again. Zukor and his family landed in New York harbor
in 1889 where he immediately went to work in an upholstery shop. From there the young
Zukor got himself a job as a furrier. No, gutter brains, a furrier. The 1893 Columbian Exposition in Chicago drew
the 20 year old Zukor out to the midwest where he started the Zukor Novelty Fur Company that
employed 25 people. By the time he was 30, Adolph Zukor had in all respects accomplished
the American Dream returning to live in New York City’s wealthy German-Jewish neighborhood.
But even bigger things were coming for Zukor. In 1903, Zukor’s cousin, Max Goldstein,
approached the successful businessman with a proposition. This guy named Mitchell Mark
had some great successes with a permanent movie picture theater up in Buffalo even being
the first American to distribute French films from Pathé Frères. Well Mark wanted to open
up shop in the Big Apple on 14th street. Zukor not only gave his cousin the loan, he went
in as a partner in the Automatic Vaudeville Company which opened up in 1904. Another partner
was a man by the name of Marcus Loew, who we’ll see in another time, was the founder
of MGM. After a failed venture called Hale’s Tours
which screened travelogue footage in a simulated train car (think Star Tours for 1905), Zukor
went to work for Loew and his blossoming theater business as a treasurer. The nickelodeon business
was booming but Zukor was getting bored of buying real estate to convert to nickelodeons. In 1912 he struck out on his own, and with
the help of Broadway producer Daniel Frohman, purchased the American rights to the French
film “Queen Elizabeth” starring the famous stage actress Sarah Bernhardt. On July 12,
he screened the 40 minute film at the Lyceum Theater in New York to a crowd of New York
elites. Apparently the blue hairs and society ladies couldn’t get enough of the Frenchies
and Zukor had a hit on his hands so he took the film on tour generating over $200,000. That’s a lot of grub – about $5,000,000
in today’s change. With the cash, Zuckor and Frohman founded
the Famous Players Film Company with the aim of filming successful stage plays. An armory
on 26th Street in Manhattan became Famous Player’s first studio – Chelsea Studios,
which is still in operation today. Famous Player’s first film was the 1913
hit “The Prisoner of Zenda,” which also reaped a sizable box office reward. As Zukor is getting his beak wet in the newborn
movie business, let me introduce you to another key player – Jesse Louis Lasky. Lasky was home grown, born in San Francisco
before finding a career in Vaudeville. But Lasky soon found his way to the producing
racket, producing two plays in 1911, Then in 1913, Jesse Lasky started Jesse L. Lasky
Feature Play Company with Oscar Apfel and Lasky’s brother-in-law, a guy by the name
Samuel Goldfish Yeah, Goldfish, you might know him better
as Sam Goldwyn, the G in MGM. You might have also heard of their first employee, a stage
director who was the son of a fellow play producer by the name of Cecil B. DeMille. With limited funds, Lasky rented a barn in
Hollywood and shot the very first feature film in what would be the capital of the movie
industry: The Cecil B. DeMille directed “Squaw Man” in 1913. Starting in 1914, Lasky and Zukor’s Famous
Players would begin releasing their films through a company called Paramount Pictures
Corporation started by Utah Theater owner W. W. Hodkinson. You see, here’s the dope on how movie racket
works. On one side you got production – lights camera action and all that jazz. That’s
what everybody thinks of when they think movie studio. But that roll of celluloid don’t
do anyone any good if it sits there rotting in a vault somewhere. You got to exhibit it,
and that’s distribution and buddy that’s where the real money is. And this Paramount Pictures company that Hodkinson
put together by buying 11 film rental bureaus, became the first U.S. wide distributor of
feature films. If you owned a movie house and wanted to show
a flick made by Famous Players or Lasky, you had to deal with Paramount. Being nationwide gave Paramount a real edge
on the competition and Adolph Zukor knew a good thing when he saw it. In 1916, Zukor
managed a three way merger between his company, Lasky and Paramount, buying out Hodkinson
and forming the Famous Players-Lasky Corporation. Zuckor put Lasky and his partners Goldwyn
and DeMille in charge of running the production side and Hiram Abrams in charge of distribution
while Zuckor ran the empire. First and foremost, Zukor understood the power
of the movie star. People go to the movies to see their favorite stars, and Zukor had
most them on his payroll: Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks,
Gloria Swanson, Rudolph Valentino, and Wallace Reid. Maybe you never heard of them but just
ask your great grandma. Since Paramount had the stars audiences craved,
they could introduce block booking. If you wanted Paramount’s stars showing up on your
movie theater screen, you had to buy a year’s worth of other Paramount productions. In other
words a movie theater couldn’t buy a single movie to show, it had to buy the whole block Kind of dirty but Zukor had other strategies
up his sleeve. Why should Paramount let some two bit projector monkey take a cut of the
profits? Why not just own the theater as well? And that’s what Zukor began doing. Through the rest of the teens and twenties,
Zukor built up the Publix Theatres Corporation amassing nearly 2,000 screens through acquisitions.
In 1926 Zukor picks up the successful Balaban & Katz chain bringin in Barney and A. J. Balaban
(this guy’s uncles) and Sam Katz. In 1927, Famous Players-Lasky was renamed
Paramount Famous Lasky Corporation before finally becoming Paramount Publix Corporation
because of the importance of the Publix Theaters. The good times were rolling. And what a better
symbol of success than opening the $13.5 Million dollar Paramount Headquarters at 1501 Broadway
in New York City completed in 1927. Zuckor was showing off as it took the title
of the tallest building in Manhattan at the time at 33 stories. But storm clouds and a
huge stock market crash colored the horizon. Common Wisdom says that the movie business
did well during the Great Depression, maybe in hindsight, but practically all studios
were hit hard by the economic panic in the late twenties and early thirties. Zuckor had bought or forced out most of his
early partners, and now with income statements bleeding red, Jesse Lasky was hung out to
dry in 1932. Zuckor’s expansion and use of overvalued Paramount stock led to company
into receivership the following year with Zukor holding on to a leadership position
by the skin of his teeth. In 1935, the Paramount-Publix wing went bankrupt, John Otterson became president
followed by Barney Balaban in 1936. Zuckor was bumped up to chairman of the board where
he reorganized the company as Paramount Pictures Inc., successfully bringing the studio out
of bankruptcy. Despite financial turmoils at headquarters
in New York, the Hollywood studio, now in the era of the talkies, was pumping out 60
to 70 feature films a year to fill its theater chains and contracts to independents thanks
to block booking strategies. Paramount’s stable was still strong with stars like Marlene
Dietrich, Mae West, W.C. Fields, Jeanette MacDonald, Claudette Colbert, Gary Cooper,
Bing Crosby… even the Marx Brothers graced Paramount’s screens in the first half of
the 1930s. On the cartoon short side, Paramount contracted Dave Fleischer of Fleischer Studios
who produced characters like Betty Boop and Popeye the Sailorman, who in 1935 even beat
out Mickey Mouse in a popularity contest. But at some point, the bill comes due. Uncle
Sam had been getting lots of complaints from independent movie producers and theaters about
Paramount and their block booking dirty tricks. In 1940 Washington decrees an end to block
booking and preselling (the practice of collecting distribution fees for films not yet in production).
Paramount’s filmmaking factory went into serious slow down – going from 71 films a
year to just 19 during World War II. But don’t shed a tear for Uncle Zuckor,
thanks to stars like Bob Hope, Alan Ladd, Veronica Lake, Paulette Goddard and Betty
Hutton, Paramount with their vertical monopoly made even more money than ever. Built into the 1940 decree was a allowance
for the a new lawsuit if studios had not been in compliance by 1943 – which they hadn’t.
By 1945, studios owned either partially or fully 17% of all theaters in the country accounting
for 45% of the film rental revenue. That’s when the Society of Independent Motion Pictures
Producers filed a lawsuit against Paramount Detroit Theaters – an outright monopoly in
Detroit. The case never went to trial but Washington did reinstate the 1943 lawsuit
on October 8, 1945. The case was decided in favor of the studios before reaching the Supreme
Court in 1948. And that my friend, is when Zukor’s vision
of a vertically monopolized Hollywood from script to screen, collapsed. From the fallout of the Supreme Court Case
United States vs Paramount Pictures et al in 1948 came the Paramount decrees. All movie
studios were forbidden from owning their own movie theaters – Paramount Pictures Inc was
split into two, a production distribution company called Paramount Pictures Corporation
and a 1,500 screen theater chain called United Paramount Theaters. Zuckor stayed on at Paramount
Pictures and Leonard Goldenson became the president of this spin-off United Paramount
Theaters. Having some extra cash lying around from some real estate holdings Goldenson acquired
the struggling ABC TV network in 1953 and turned it around into a success. Speaking of Television, Paramount Pictures
itself had also invested new fangled device – but much earlier – investing in an experimental
TV station in Los Angeles that would eventually become KTLA in 1939 and a Chicago station
that became WBKB in 1943. The year prior, Paramount had become a minority shareholder
in TV manufacturer DuMont Laboratories and their DuMont Television Network. Paramount
also launched it’s own network, the Paramount Television Network in 1948. Despite these early insights, Paramount didn’t
get far into TV land before the government stepped in again and shut them down. When Paramount sought to acquire additional
owned and operated TV stations, the FCC denied Paramount’s application. See, when Television started booming in the
50s, the FCC stepped in and put a limit on the number of VHF TV stations an entity could
own to a total of five – you’re allowed to have affiliates that are independently
owned but you as a company could only own and operate 5 stations. Since Paramount already
owned 2 and had a minority share in DuMont which owned 3, the FCC considered them to
be at their limit. Neither company could gain more power in the emerging cutthroat industry
of Television and were left in the dust of the big three, ABC, CBS and NBC. But Paramount’s early foray into Television
wasn’t quite done yet. In 1953, Paramount began operating a coin
operated Pay TV service in Palm Springs California but shut the service down only 6 months later
partly because of pressures from the FCC. So now with no theaters, failed TV prospects,
and no big names except the reliable Cecil B. DeMille, who injected a bit of cash with
the 1956 mega hit the Ten Commandments, Paramount was in a bad bad slump. Paramount sold off
it’s what they considered their useless film catalog to MCA, the Paramount building
in Times Square and even it’s LA TV station KTLA to Gene Autry for 12.5 million dollars. Old School Hollywood was dead. In 1964 Adolph
Zuckor, it’s sole survivor, stepped down as chairman to assume the title Chairman Emeritus
at the age of 91 – a title he would hold till his death at the age of 103. Now the second
worst performing studio of the remaining nine Hollywood studios, Paramount was up for sale. What begins now is the roots of modern corporate
Hollywood. Paramount’s savior would be none other than
the Industrist Charles Bluhdorn and his conglomerate Golf + Western Industries Corporation. Like
Zukor Bluhdorn hailed from central Europe. Born in Vienna Austria, Bluhdorn immigrated
to the United States where he began dabbling in the import and export trade. His first
major success was importing coffee from Brazil and Africa using his company Fortuna Coffee.
But the coffee business was prone to ups and downs so Bluhdorn bought up Michigan Plating
& Stamping Company – a publicly traded company which Bluhdorn could use to finance other
purchases – like Beard & Stone Electric Company which was the first to get merged In 1958
he renamed the company Gulf & Western Corporation and started acquiring Detroit auto parts suppliers
and distributors. In 1965, Bludorn began to diversify, first by purchasing New Jersey
Zinc, a large mining and chemical company – then Bludorn was on a mission to purchase
any company that had undervalued assets he could use to borrow against heavily and purchase
even more companies. From Sugar plantations to Cigars, Manufacturing,
Consumer goods and Financial services, Bludorn collected them all in his Gulf+Western portfolio,
but one of his first was Paramount Pictures in 1966. Bluhdorn didn’t waste any time letting people
know who the real boss was – he quickly plastered the Gulf + Western title on Paramount’s logo. But Bludorn’s greatest contribution to film
history was putting a virtually unknown producer as head of production: Robert Evans. Having only read about Evans in an article
by Peter Bart, Bluhdorn gave Evans a shot to turn around Paramount. Evans in turn brought
in Peter Bart as an executive and ran Paramount for 8 years: creating many of the now hailed
masterpieces of American Cinema from the 1960-70s like The Odd Couple, Rosemary’s Baby, Love
Story, The Godfather, Chinatown and Paper Moon. Also In 1967 Gulf + Western purchased the
Desilu Television Studio – once the RKO Lot, inheriting established shows like Star Trek,
Mission Impossible and Mannix. Paramount took another stab at the boob tube with a newly
incorporated Paramount Television but this time specialized in producing half hour sitcoms. After Evans left in 1974, Paramount stumbled
a bit under Richard Sylbert who was rather quickly replaced in 1976 by Bludorn’s newest
protege, Barry Diller. Barry Diller started out as a UCLA dropout
working in the William Morris Agency mailroom. He worked his way up at ABC and was put in
charge of negotiating deals for TV rights of feature films. While at the post he was
a pioneer of the concept of the ABC Movie of the Week – the first weekly specifically
made-for-tv-movies. I know that might sound cheesy to the modern
ear, but in the 1960s a made for tv movie with real stars sounded like snake oil considering
the bad blood that still lingered between film and television for, you know, almost
bumping off the film industry in the 1950s. But now a former TV producer was running the
studio that made the Godfather. At Paramount Diller surrounded himself with a TV trained
team of folks you’ve probably heard of – the Killer Dillers as they were called by their
admirers, the Dilletes as they were known by their detractors. This included Michael
Eisner who would of course go on to head Disney, Dawn Steel the first woman to head a studio,
Columbia Pictures in 1987, Jeffrey Katzenberg of Disney and later Dreamworks, and Don Simpson
who would partner with Jerry Bruckheimer and create many of the iconic films of the 1980s. The strategy under Diller was high concept
– hit big, hit hard, and hit all over the world. These are movies where the story concept
is the star – they can be encapsulated in a single premise – a single idea or image
and sold all around the world. But make no mistake, the high in high concept doesn’t
mean high brow, it means larger than life and compelling and irresistible to the target
audience. If you want an extreme example think Snakes on Plane or Hobo with a Shotgun – don’t
lie, some part of you wants to see that movie. During Diller’s turn at Paramount we got
high concept films like Saturday Night Fever, Grease, Raiders of the Lost Ark, and Beverly
Hills Cop…. Now coming from Television, Diller set his
eyes on creating a new fourth network to compete with the Big three – attempting to revive
the Paramount Television Service. But the board didn’t totally go for it and Diller’s
dream of a fourth network well that wouldn’t be realized until he left and moved over to
Fox in 1984. From Diller, the studio passed through Eisner
and Katzenberg to Frank Mancuso Sr and, Ned Tanen in 1984. Ned Tanen was the inspiration
for Back to the Future’s Biff Tannen by the way. Zemeckis and Gale had a run in with
Tanen when working on I Wanna Hold Your Hand and wanted to immortalize their feelings about
the man. Though commercially successful, during the
80s Paramount struggled to put out the grand slams as they had before. Then in 1983, Charles Bludorn died suddenly
from a heart attack while coming back from a resort on his private jet. Not the worst
way to go but he was only 56 years old. Bludorn’s successor at Gulf + Western began to consolidate
the company from a bloated and confusing conglomerate into a streamlined media and publishing company
– selling off sugar plantations and consumer brands in 1985. In 1989, Gulf+Western was
rebranded as Paramount Communications. In addition to the Paramount film, television,
home video, and music publishing divisions, Paramount Communications included Madison
Square Garden properties, a 50% stake in USA Networks, Simon & Schuster, Prentice Hall,
Pocket Books, Allyn & Bacon, Cineamerica, and Canadian cinema chain Famous Players Theatres
where they could get away with owning some movie screens. With the cash from the sale of unrelated product
lines, Paramount purchased TVX Broadcast Group – a string of television stations which would
form the nucleus of Paramount’s new TV network United Paramount Network which utilized the
TV stations of another conglomerate Chris-Craft Industries. And since they didn’t want Disney
and Universal to have all the fun, they bought up King’s Entertainment Company – putting
Paramount in the theme park business as well. But then in 1994, Sumner Redstone and Viacom
take control, buying Paramount Pictures for $9.75 billion for 50.1% of it’s stock which
begins what is known as the old Viacom days. Let’s back up a bit Viacom was originally
the syndication company for CBS. But the FCC was worried the big three would monopolize
the TV landscape and issued a decree in 1970 that forbid TV networks from owning their
own syndicators. And so Viacom was split off from CBS as a Television show syndicator. And Viacom became really really profitable
and started to acquire more and more assets. Their first purchases came in 1978 with radio
and tv stations. They continued buying up cable networks that included MTV and Nickelodeon. Then in 1986, National Amusement, a large
theater chain, buys up controlling interest in Viacom, bringing Sumner Redstone into the
mix – who like all media moguls before him, goes on a buying spree which includes Paramount,
Blockbuster and Spelling Entertainment which brings in a huge catalog of TV show rights
including all of Republic Pictures Catalog. Redstone even goes and buys the parent network,
CBS in 1999, long after the FCC relaxed its rule about Syndicators and TV networks. Also in 1999, Viacom forces Chris-Craft Industries
out of United Paramount Network and shortens the channel’s name to UPN. Fox swoops in
and buys up Chris-Craft’s television stations and leaves UPN without any Owned and Operated
Stations in the top three major US television markets – leaving UPN destined to the trashbin
of TV history. While all this corporate shell game was going
Jonathan Dolgen served as chairman of Paramount Pictures with Sherry Lansing as Chief of the
studio. Between Dolgen’s careful accounting and Lansings sensibilities, this leadership
team oversaw Paramount’s greatest track record with the crowning jewel of Titanic
which hauled in 2.2 billion dollars since its release in 1997. Paramount also took home
best picture wins and commercial success for Forrest Gump and Braveheart as well as seeing
box office successes with Saving Private Ryan, The Truman Show, Event Horizon, the Mission
Impossible Movies and Pootie Tang. Just making sure you were paying attention. According to Sherry Lansing, 80% of all Paramount
films during this period were profitable leading many in the Entertainment industry to view
Paramount as the model of a well run movie studio in the 90s. In the Television world – Star Trek was starting
to pay off really good – from movies, books, videotapes and licensing – the franchise was
a huge chunk of Paramount’s revenues. By the late nineties nine of the studio’s 36
sound stages were dedicated to shooting Star Trek: Voyager and Deep Space Nine. But every great Hollywood story comes to an
end. The winning streak faded and in an attempt
to revive it’s languishing stock, in 2005, Viacom announces that it’s going to split
off CBS as a separate entity. Famous Music division, the music publishing arm from Lasky’s
days was sold to Sony, UPN which only had a year left to live, and the TV stations as
well as many of the television production side of Paramount was moved under the umbrella
of CBS. The three movie chains were sold off and the theme park group was sold to Cedar
Fair. The resulting Paramount Pictures, now owned
by the new, and more streamlined Viacom, was now approximately 1/5th of it’s former self
and put under the Leadership of Brad Grey in 2006. Brad Grey picks up Dreamworks – founded
by former Paramount executive Jeffrey Katzenberg in 2006 and held the title of CEO until he
was ousted in 2017 in a dispute with Sumner Redstone’s family over a series of flops
that set the studio back over $450 million in losses. Jim Gianopulos from Fox has taken
over and is the current CEO. And that’s where we stand on Paramount Pictures
as of June 2018. Don’t yell at me for stuff that happens after this point because frankly
I’m not a fortune teller. From Zuckor and Lasky to Evans and Viacom,
Paramount Pictures is a fascinating tale of rise and fall, rise and fall, and rise and
fall again. Obviously there’s more stories to unlock in this company’s 106 year history
but if you liked our cursory summary why not throw us a bone with a thumbs up, subscribe
and ring that bell. Even consider becoming a patron on Patreon where every contribution
helps. If you didn’t like this video, I can’t think of a worse insult than to drop
a c note or two on our Patreon just to teach us a lesson. But I tell you sometimes the stories behind
the curtain are just as good as what’s on stage. Unfortunately I’m about out of material
for this peak behind the peak, this look behind the curtains at the business of show. Till
next time, I’m John Hess and I’ll see you at Filmmaker IQ.com

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  1. Lol lol I’m not a fortune teller then you cut to another angle and continue your line….. lol I love it. And the dark film noir look as well. Lol lol kool

  2. I was a projectionist in the late 1990s, Paramount forced my movie chain show a trailer ( Deep Impact) or we wouldnt get a big movie that was out later that year. AMC the theater company stood up to them and them gave the big movie to a small theater near by.

  3. That was a fascinating history of Paramount Pictures. I have something that you may find interesting and that you could perhaps shed some light on. I live in in Western Australia and work in the city of Belmont. At my place of work, on the signboard of the companies that occupy the building, there is a Paramount Pictures sign. There are no longer here and no one around knows the history. The co-ordinates are -31.953571, 115.922476 and here is the streetview: https://www.google.com.au/maps/@-31.9535849,115.9224804,3a,15y,273.12h,88.54t/data=!3m6!1e1!3m4!1s_llbWpzW4UxK7_4z2FFoiQ!2e0!7i13312!8i6656
    I also have a picture of the sign which I could send you.

  4. Thoroughly enjoyed this, love videos that focus on the history of companies. As a movie buff, I can't think of a better series than the history of film industry companies. Also, the production quality on this was great, loved the noir theme. Keep 'em coming!

  5. Love the history, but John needs to work on his pronunciations of Colbert, Goddard, and a few others. 😉

  6. The good ol’ days when the government would try and protect us from corporate takeover. Now AT&T owns the FCC.

  7. love this video. very informative.

    also, i love the fact that paramount's effectively just a blob of mergers at this point.

  8. first ever video from your channel I ever see, was excited that YouTube recommended something new that I would be interested in, sat back to watch and then….your video is ruined by the constant cutting back to your face making some stupid pun or throwback to 30's movies….enough already with the cuts!!

    A little bit of you at the start and end of the video would go a looooong way, in the middle you are to be heard and not seen.

    PS: starting the story of a studio with a detailed narrative of a Jewish immigrant is too much, why couldn't you start with: Zukor was a Hungarian Immigrant who came to America and got rich, some guy came to him with a proposal….etc

  9. StudioCanal, Woodfall Films, Janus Films, Orion Pictures, Carolco, ITC, Rank, UA, De Laurentis Entertainment Group, Lorimar, RKO, Samuel Goldwyn… Would love to see those

  10. This was fantastic! Please do more of these history of studios or even theater chains like what happened to ACT III theaters

  11. How was it still legal for the subsidiary to own the theater? El Capitan, for example, just changed hands to a Paramount subsidiary and now a Disney subsidiary.

  12. Such a nice video, thanks!! Very interesting, can't wait to see another one! What about United Artists?!

  13. I feel bad for you, guys. The views are not as good as they should. You put such an effort into your videos everytime and the outcome is awesome – I haven´t seen that quality on Youtube whatsoever. Keep on, please!!

  14. It is interesting how many times they tried and failed to get into being a TV network. Seems like FOX was honestly a rarity, Though they hit big with The Simpsons, NFL, In Living Color. I think that was the big issue with UPN, they kinda lacked a killer program and you cant ride a fledgling network on just Star Trek Voyager which I believe was one of its launch shows.

  15. Great job with the script, set design, lighting, sound design editing and your acting. Keep it up John! I found this very interesting.

  16. 22:51 It was always called “UPN”. Anybody in here ever watched STAR TREK: VOYAGER or WWF SMACKDOWN (only shows that aired on UPN that any one gave a crap about)?

  17. I am actually about to start working at the Paramount Studios tomorrow as a PA/Runner so it’s great to get the company history.

    Excellent job on the video.

  18. Claudette Colbert’s last name was pronounced “col-bear” in the French style, and Marlene Dietrich was pronounced “mar-lean-uh” “dee-trick”. I guess I’m old because I heard these names pronounced many times.

  19. Very informative not to mention fun video. Surprised Charlie Bluhdorn doesn't have a movie about him. Not even a documentary, as far as I can tell.

  20. Fantastic video John & team!
    I have a specific technical question: I’m venturing into After Effects and I’m trying to figure out how you do the graphics on these; are they mostly big compositions where you put the elements and then pan and zoom cameras on them?

  21. I Got a Message for John P. Hass Can You Do More Episodes of THE STUDIOS for My Birthday is on March 26, 2019 and Do It for All the Users Too

  22. A Brief History of Universal Studios
    A Brief History of United Artists
    A Brief History of Warner Bros.
    A Brief History of RKO
    A Brief History of The Walt Disney Company
    A Brief History of Metro Goldwyn Mayer
    A Brief History of Columbia Pictures
    A Brief History of Republic Pictures
    A Brief History of 20th Century Fox

  23. Paramount Pictures was the greatest movie studios in Hollywood and my favorite Paramount movies are Goin’ to Town (1935), Airplane! (1980), Escape From Alcatraz (1979), Mission: Impossible – Rogue Nation (2015), Top Gun (1986), Patriot Games (1992), The Godfather Part II (1974), Star Trek Into Darkness (2013), Star Trek Generations (1994), Star Trek III: The Search for Spock (1984) and Indiana Jones and the Temple of Doom (1984).

  24. Why all the american movie studios are founded by jews only one who didnt created by a jew is walt disney studios

  25. That was a very nice brief history of Paramount Pictures! Adolph Zukor really did create a fantastic company.

  26. Paramount in 1958, the studio did sell their pre-1949 sound movie library of 750 films to MCA (Music Corporation of America) which MCA later bought UNIVERSAL STUDIOS, anyway the Paramount movies that were made between 1929 to 1949 at the studio of Paramount got sold for Television rights to MCA. But before MCA in 1958 a few of those Paramount sound movies were sold to other studios like Warner Brothers, MGM and United Artists such as A FAREWELL TO ARMS (1933), DR. JEKYLL AND MR. HYDE (1931) and I MARRIED A WITCH (1942). But at the time Paramount sold their pre-1949 sound movie library to MCA, Paramount did decide not to sell a few of their movies to MCA like Cecil B. DeMile's THE BACCANEER (1938), Preston Sturges' THE MIRACLE OF MORGAN'S CREEK (1943) and SORRY WRONG NUMBER (1948) because of remakes and ownership, but also a few of those Paramount movies entered the Public Domain and could not get renewed. So today the 750 Paramount sound movies from 1929 to 1949 are now a property to UNIVERSAL STUDIOS under the studio's division of EMKA Ltd. Also UNIVERSAL STUDIOS owns a few of the Alfred Hitchcock films that were made at the Paramount Studio between 1954 to 1960 like REAR WINDOW (1954), THE TROUBLE WITH HARRY (1955), THE MAN WHO KNEW TOO MUCH (1956), VERTIGO (1958) and PSYHCO (1960) these Paramount films are a part of Hitchcock's Real Estate at UNIVERSAL STUDIOS, but the Paramount Studio today has only one Hitchcock movie that the studio decided not to sell to UNIVERSAL and this film is Alfred Hitchcock's TO CATCH A THIEF (1955). Paramount can not go on losing or selling their most valuable piece of films that the studio once made.

  27. Another fact: Paramount's owner, Viacom and CBS Corporation are planning on remerging thus renaming both companies as "ViacomCBS"

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