Embassy and Carolco and gone through the life, death and rebirth of Orion but here is a deeper look at a studio that still exists... Sort of. Gonna get the history stuff out of the way in the intro here as we have a long road to go down and I really want to focus on the movies.
Started in 1967 by Robert Shaye, New Line has been a plain and simple distributor; a solid indie company churning out horror flicks and comedies by the truckload, a branch of Ted Turner's media empire, a brief period of being huge thanks to a certain trilogy of fantasy films and finally a division of Warner Brothers.
It's sort of funny to think about, but the truth is that for most of its existence, New Line has been more of a high grade B-movie company with most of their hits being horror films (Freddy Krueger anyone?); comedies (Austin Powers, the House Party and Friday franchises) along with scores of action films both theatrically released and DTV (I'll be covering some of those as well). They also bolstered their film library thanks to partnerships with CineTel Films, Castle Rock Entertainment and others. Their blockbuster period really only goes from 1999 into 2003 and even then we're only talking the last two Austin Powers flicks, the Rush Hour films and the Lord of the Rings trilogy. Most of their other hits have been sleepers, which I believe is movie industry shorthand for "Really? That made money? Okay then!"
New Line spent its first ten years of existence in the distribution business. Like many companies at the time, the bulk of their product was English dubs of foreign films but right from the start, New Line took a slightly different approach to things. In addition to those films, they also put out a decent number of films from maverick director John Waters as well as handling re-releases of Reefer Madness, Night of the Living Dead and The Texas Chainsaw Massacre.
Generally, announcing that the biggest trilogy since the original Star Wars films ended up not making a profit even though they cleaned up at the box office ten times over is a good way to get your ass sued and your company shut down.
At the end of the day, New Line found success by sticking to its strengths (mid-budget genre films supported by more serious fare from time to time) and managing to hang around by making smart business decisions when needed (regardless of how the Time Warner merger ended, it started off just fine). That it's still around after fifty years says something.
Well that's enough history for now, stay tuned for the first part of their cinematic output.
Coming Next: The Lord of the Rings and Other Epics