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Studio Breakdown of Original Paper

The following is a studio breakdown of trends and time frames in the issuance of their original domestic paper.  Please feel free to submit information for inclusion here, or if you can correct or clarify anything we already have listed.  Contact thewildbunch@yahoo.com to submit.  As with any such undertaking, exceptions abound, and any updated info is welcomed.  Stills are assumed to be available on all titles, and are not included in the breakdowns.

Allied Artists
Now defunct company who produced some of the more sought after 1950s horror/sci-fi (Attack Of The Crab Monsters, etc.)

One Sheets, Half Sheets and Inserts were made for every release.

Window Cards were generally not made for AA releases.

Lobby Cards had sets of 4 for some of the early titles (Crab, Not Of This Earth) but they began to produce 8 sets in the late 50s throughout their run.

Pressbooks were made for all AA films, Presskits rarely if ever appeared.

Large paper was produced, with some great early 3 sheets and later 40x60s.

 

American International
A leading distributor of colorful low-budget product until their absorption into other studios beginning in 1980.

One Sheets were for every release.  Rarely did more than one style exist, but occasionally an advance style did. 

Inserts and Half Sheets were made for all early titles.  During the 70s, on a case by case basis, sometimes only one or the other was made, occasionally neither, sometimes both.  Did not do A and B style half sheets in the 50s like so many other studios.

Lobby Cards were made in sets of 8 throughout the AIP years.

Window Cards were made for AIP releases only through the Benton Card Company.  No NSS window cards were ever made for the company.

Pressbooks were some of the nicer ones of the day throughout the AIP run.  Oversized ones were often made for the older releases.

AIP rarely issued presskits, except on occasion for product that they were really giving the push (e.g. "The Amityville Horror.")

Large Paper: 3 sheets (some of the most collectible of the era) were usually issued for older films.  40x60s existed for later ones.

 

Avco Embassy
Began life as simply Embassy in the late 50s/early 60s and had its greatest hour with The Graduate; wound down in the early 80s after leaning heavily into exploitation.

One Sheets, Inserts and Half Sheets were made for all titles. 

Lobby Cards were produced in sets of 4 for some very early art titles; by the mid 60s sets of 8 were the norm.

Window Cards were made on titles from the mid 60s throughout the very early 70s.

Pressbooks were often informative with exploitation tips; Presskits surfaced on bigger releases.

Large paper existed in 3 sheet and 40x60 form, with 3 sheets fading away in the early 70s.

 

Columbia
One of the long enduring studios, with major releases from every era. For 2-3 years in the early 60s, none of Columbia's movie material carried a National Screen Service number.  (Also includes Tri-Star, who began releasing in 1984 in conjunction with the studio.)

One Sheets issued for all titles.  Advances occasionally released. 

Inserts and Half Sheets were issued until the mid 1980s.  Their Silverado and Jagged Edge are two of the last inserts and half sheets to be produced.

Window Cards were produced throughout the years until their disappearance in the early 70s.

Lobby Sets almost always had 8 cards, except for some shorts sets.  The studio produced Title Cards and was in fact the last major to stop regularly including them in their sets, as late as 1966.  The studio was one of the last, along with Tri-Star, to produced lobbies for domestic use.

Pressbooks and Presskits were regularly issued throughout their general periods.  Early kits usually had poster art on cover.  Despite their status and often heavily touted films, Columbia and Tri-Star (along with recent offshoot Screen Gems) have gone almost exclusively to a generic studio folder with a cutout window, with one of the internal pages presenting the title through it. 

Large paper was regularly produced in accordance with the run trends.

 

MGM
One of the longest running studios (and at one time the king of them); MGM has had a spotty history in the last 30 years, often pairing and then splitting with United Artists for release credits.

One Sheets have been made for all MGM films.  Advances sometimes made; multiple styles occurred in the 70s.

Inserts and Half Sheets were made up until around 1984 (during the MGM/UA phase.)  Half Sheets usually A and B style in the 40s/50s.

Lobby Sets were produced in sets of 8 throughout the years.  Beginning in the early 50s, MGM had no border or side logo art; the titles were printed simply in basic lettering in a thin bottom border (often with a caption or snippet of dialogue about the scene.)  Title cards were usually sharp numbers, issued until 1961.

Window Cards were made through the early 70s.

Pressbooks and Presskits were both issued throughout their respective periods of prominence.  Both were on the more elaborate side for all but their smallest releases

Large paper was generally made on every title.  MGM saw some of the last 3 sheets to be produced in the early to mid 70s.

 

Miramax
As a relative newcomer (though the occasional release is found back to the late 70s), the studio is largely absent from the categories.

One Sheets are made for every title.  In accordance with recent trends, occasionally multiple styles (as the elaborate series of "Jackie Brown" teasers) are made.

Presskits: For the prestigious product they have been putting out for the last decade, Miramax still frequently takes the low-budget route presskit-wise.  Stapled press release notes often are the only accompaniment to their stills and slides.

No other sizes for domestic release are known, even for the earlier titles, which were usually limited release.

 

New Line
Another relatively new studio in the grand scheme, New Line has been around since the 1970s, earlier releases were along art or exploitation lines, and did not have a wide variety of paper.

One Sheets made for every title.  In recent years, advances have surfaced for hotter titles and franchises.

Presskits: Since emerging as a major studio in recent years, New Line has released some attractive kits for bigger product in the last several years.  They can still surprise, however, by issuing big-ticket product such as "Magnolia" in a generic studio folder.  The output, folderwise, seems about half and half, but the inside contents are usually on the full side.

No other sizes are known domestically for New Line product.

 

Paramount
Another of Hollywood's longest running, still going strong.  Paper over the years has been some of the stronger of various eras.

One Sheets have been produced for all titles.  Multiple styles and advances are fairly regular.

Inserts and Half Sheets were produced until 1983-4.  A and B style half sheets were frequent in the earlier years through the early 60s.

Lobby Sets were always 8 sets.  After the 30s, Paramount ceased producing Title Cards, leaving many later Paramount classics from the golden ages of TC's without one.

Window Cards were made through the early 70s.

Pressbooks were usually full of information and exploitation ideas.

Presskits were issued using a gold logo folder with simply printed title in the 70s, and branched out with the trend to include title logo or poster art on most of their releases thereafter.

Large paper was available for most titles; Paramount was one of the last studios to produce 3 sheets into the mid to late 70s for some of their releases.

 

RKO
A major player in the early days of Hollywood; many beloved classics bear their mark.  Largely dissolved in the 50s, with some latter day low budget product released through Universal.

One Sheets were made for all titles.  Often great artwork for some of their classics, and then-B, now classic noir and horror titles.

Inserts, Half Sheets and Window Cards were made throughout their run, with A and B style half sheets for most titles.

Lobby Sets were usually beautiful 8 card jobs, with Title Cards and border art prominent for almost all.

Pressbooks were made for all releases.  No known presskits at this time.

Large paper existed in 3 and 6 sheet form, with some 40x60s.

 

20th Century Fox
Another of the Hollywood staples, still a major player today.

One Sheets were made for all titles.  Multiple styles and advances were made for many of them.

Inserts and Half Sheets were produced until the last of them disappeared in 1985; Prizzi's Honor and Commando from that year are two of the last known to exist.

Lobby Sets were produced in sets of 8, with Title Cards up until the late 1950s.  By 1961, none of their releases had a Title Card.

Window Cards were made throughout the early 70s.

Pressbooks were often deluxe issues, but economy issues were prevalent in later years.

Presskits: In recent years, the studio has been the current leader in creative presskit design, was one of the first to feature poster or logo art on their folders during the 70s when most other studios were still using generic folders or simply printed titles.

Large paper was produced on all titles, with 3 sheets continuing into the mid 70s for some films.

 

United Artists
One of the oldest studios, with some of the biggest classic hits, it has shared an erratic recent history with MGM (with whom it has been on-again, off-again affiliated as a releasing company.)  Recent years saw the track record grim, though with a few big hits, including the resurgence of Bond after a dry spell.  The last couple of years have seen it lean independently with a slant toward art and independent projects.

One Sheets were made for every title.  Advances and multiple styles were frequent in the 1970s.   In the 60s and 70s, some beautiful art was created, often for their low budget product.

Inserts and Half Sheets existed until the mid 80s.  One of the last inserts to appear was their Cat's Eye in 1985. 

Lobby Sets were made in sets of 8 up until the mid 80s.  Title cards ceased to appear in the early 1960s, with The Magnificent Seven being one of the last.

Pressbooks were bigger in earlier years than later; they were among the last to produced traditional print pressbooks in 82-3.

Presskits saw UA as forerunners of artwork or poster folder covers, and almost all of their releases through the years have featured it.  Older kits' press releases often printed with production letterhead and nice images on front.

Large paper was prominent in its regular eras, with 3 sheets largely disappearing from UA runs in the very early 70s (though a few did surface later.)

 

Universal
Another of the longest running studios, and one of the majors today.  Universal horror is some of the most hotly sought of all movie paper, and classics proliferated all eras, though in the 40s through the 60s especially, they tended toward economical film budgets.  Today, the most expensive the paper is often found on the cheapest to then produce.

One Sheets were made for every title, and up until the mid 50s were often some of the most beautiful.  The noted artist Reynold Brown created many memorable images, and many of his contemporaries made similarly strong contributions.  During the period from late 1976 to early 1980, Universal did not issue through National Screen and had limited types of paper available for their films.

Inserts and Half Sheets were made for almost all titles through the early 70s.  During the previously mentioned 76-80 period, half sizes were not made.  Inserts resurfaced again briefly in early 80, with The Blues Brothers and a few others throughout the early to mid decade.  Half Sheets thus ceased to exist for Universal in late 76.

Lobby Sets were sets of 8 until the 76-80 change; for that period sets of 4 were produced.  They returned to 8 in 80 until they ceased to appear domestically after 1984.

Window Cards were produced up until the very early 70s.

Pressbooks were made up until the early 80s; the last ten years of their production were small 8x11 stapled format.

Presskits used the format of folders with their studio logo and simply printed block titles throughout most of the 70s.  Later years saw the inclusion of poster art on the folders of most of their releases.

 

Walt Disney
(
Also includes Touchstone and Hollywood releases from the late 80s on; One Sheets and Presskits only apply to these newer studios.)

Some of the most sought after paper is original Disney classics, including the early animation shorts.  The studio produced a combination of original animated and live action family classics through the years, with several reissues on much of that output.  In later years, Touchstone and Hollywood existed to give them a presence in the general release trade, without loaning the actual Disney name to non-family product.

One Sheets were produced for all titles.  Advances and different styles exist for many titles, along with the previously mentioned reissues.

Inserts and Half Sheets were produced for all releases through the early 80s.  1984 saw the last of the half sizes from Disney.

Lobby Cards were produced in sets of 8; sometimes the odd issue and reissue from the 60s on had a few more or less cards.  Title cards were made for many releases into the late 70s, long after the other studios had abandoned the format.

Window Cards were made through the early 70s.

Pressbooks were always a big affair, with lots of promotional and merchandising information.

Presskits both for Disney's own originals and subsequent "adult" divisions, Touchstone and Hollywood, could be counted on for some nice items.  Poster art is found on most of their output in the last decade or more, save for some lower-budgeted acquisitions.

 

Warner Bros.
A long running and enduring studio, home to some of the alltime hits and franchises.

One Sheets were made for all titles.  Advances and multiple styles are often seen.

Inserts were produced up until the end of 1984, with "City Heat" being their farewell to the format.

Half Sheets had stopped appearing for WB titles by the end of the 1970s.

Lobby Sets were always sets of 8.  Nice border art appeared until the early 80s, when simple bottom border title logo art took over.  WB continued making domestic lobbies through 1984.

Window Cards were seen up until the early 70s.

Large paper was made for almost all releases, with 40x60s lasting through the 84 cutoff, and some later than usual 3 and 6 sheets in the mid 70s.

Pressbooks were usually full of information and promos.  The last appeared in 1980-81.

Presskits made use of a generic orange folder with the WB logo through most of the 70's, branching into title logos and full fledged poster art.  However, in the last few years, they were still occasionally using a generic white folder with the WB logo, often for low-budget material.  A flurry of creativity in the late 90s saw some interesting tri-fold items, but they have traditionally stayed with a one-pocket design housing stills and press info on one side.

 

Other studios will be added as researched; the majority of those active today have only a one sheet and usually a presskit available.