# Interscope Communications

Interscope Communications, Inc. (also known as Interscope Pictures) was a motion picture production company founded in 1979 by Ted Field. It soon became a division of PolyGram Filmed Entertainment.
In 1999, after Seagram merged PolyGram into Universal Pictures, Interscope Communications was sold to USA Networks and merged into the recently formed USA Films. In 2000, the company was morphed into Radar Pictures.

## History

Interscope Communications (the studio shared its name for a former racing team, "Interscope Racing") was founded in 1979 by media mogul Ted Field, who aimed to create films with mass appeal. Field then hired Peter Samuelson, who was partner with Field for four years as head of film production. Field acted as a producer or executive producer on a number of films in Interscope's filmography. The company's first film, Revenge of the Nerds, was released in 1984 and was a box office success. That same year, Robert W. Cort, a former executive of 20th Century Fox and Columbia Pictures, joined Interscope and became the president of the company. Cort also co-produced a number of films.
On November 13, 1984, the company received an agreement with The Walt Disney Studios for a two-year term, to become the company's first independent supplier within the studio.
On December 10, 1986, Interscope Communications inked a three-picture domestic feature pact with United Artists Pictures, whereas production would be jointly financed by UA and Interscope, and that Interaccess Film Distribution and Vestron Inc. would participate in Interscope's share of financing, and domestic videocassette rights to Interscope's features going to Vestron Video, and foreign theatrical, TV and home video distribution of Interscope's films going to Interaccess Film Distribution.
On May 20, 1987, Interscope Communications rises into the rank as a film supplier, in order to set films from different major film studios, mostly MPAA members, which included five of the films that were donated by Interscope to the major motion picture studios, such as Touchstone Pictures, Tri-Star Pictures, Warner Bros., Orion Pictures, 20th Century Fox and De Laurentiis Entertainment Group, as well as his involvement with a $1 million in-house development kitty.
In early July 1987, Interscope Communications decided to accelerate its TV production phase from four productions from its first four years of existence to a slate of 13 new projects for the next eighteen months, and which include two movies-of-the week, a miniseries and a conventional series for NBC, and Patricia Clifford runs the company's television operations for Interscope's television division, acknowledged a markedly pronounced greater receptivity than in previous years to telefilms dealing with black experience in the U.S., and offered a series of failed pilots and television movies on the air.
In 1990, Nomura Babcock & Brown (NBB) invested $250 million in a joint venture with The Walt Disney Company and Interscope Communications. The deal called for NBB to co-produce and finance films for Interscope and Disney for four years. The joint venture produced five films between 1992 and 1995, all of which were marketed and released under two of Disney's production banners, Touchstone Pictures and Hollywood Pictures. The most successful film co-produced by Interscope and NBB was The Hand That Rocks the Cradle (1992), while other films produced by the joint venture were critical and commercial failures.
Also that year, it purchased Marble Arch Productions from ITC, and decided that ITC Entertainment would co-finance the projects for U.S. and foreign distribution.

### PolyGram

In 1992, PolyGram bought a controlling interest in Interscope Communications' film unit. Production and marketing budgets were to be paid by PolyGram. In 1993, Adam Leipzig joined the company as a production executive. Robert W. Cort, president of Interscope, left the company at the end of 1995 believing that PolyGram "took on much more of a corporate environment than it had before and that consequently his role had become more like an executive's than a producer's." Field purchased Cort's 12% stake in the corporation.
Beginning in 1996, Interscope began using PFE's PolyGram Filmed Entertainment Distribution for distribution. In 1997, Chris Van Allsburg, the author of Jumanji had signed a deal with the studio to produce films. Also that year, BallPark Productions, a company owned by Michael Schiffer, set up a deal with the studio.

### USA Films merger and shut down

In 1998, after PolyGram was bought by Universal Studios, Interscope's film unit was retained as a subsidiary of Universal until 1999, when it was sold off to Barry Diller's USA Networks, which later merged Interscope Communications with October Films and Gramercy Pictures to become USA Films. In 2000, members of the company formed its successor Radar Pictures, that took the existing Interscope library in the company's development slate, thus rendering Interscope as inactive. The remaining films that were intended to be produced under the Interscope Communications name, including The Last Samurai, Le Divorce, The Heartbreak Kid, and the scrapped Peter Berg film Truck 44 were drafted to Radar Pictures.
Interscope Records, however, still exists as part of the Interscope Geffen A&M faction of Universal Music Group (whose predecessor, MCA, purchased Atlantic's stake in the label in 1995).

## Filmography

Interscope Communications has produced 68 films. Of the 68 films produced, only 20 are direct-to-video or made-for-television productions. Currently, all of the films that Interscope produced for Orion Pictures, and De Laurentiis Entertainment Group between 1989 and 1991, as well as PolyGram Filmed Entertainment and Gramercy Pictures before March 31, 1996, are owned by Metro-Goldwyn-Mayer (MGM), which acquired the studios in separate transactions. Films produced for PolyGram or Gramercy after April 1, 1996, are now owned by Universal Studios or its division Focus Features. Note that in all cases the distributor or distributors are also co-producers. The box office column reflects the worldwide gross for the theatrical release of the films in United States dollars.
| Year | Title | Director | Co-production company(s) | Distributor(s) | Box office | Ref. |
| 1984 | Revenge of the Nerds | Jeff Kanew | SLM Production Group | 20th Century Fox | $40,874,452 | |
| 1985 | Turk 182 | Bob Clark | SLM Production Group | 20th Century Fox | $3,594,997 | |
| 1985 | American Geisha $^2$ | Lee Phillips | Stonehenge Productions | CBS | — | |
| 1987 | Critical Condition | Michael Apted | | Paramount Pictures | $20,240,752 | |
| 1987 | Outrageous Fortune | Arthur Hiller | Silver Screen Partners II | Touchstone Pictures | $52,864,741 | |
| 1987 | Stillwatch $^2$ | Rod Holcomb | Zev Braun Productions | CBS | — | |
| 1987 | Murder Ordained $^2$ | Mike Robe | Zev Braun Productions | CBS | — | |
| 1987 | Revenge of the Nerds II: Nerds in Paradise | Joe Roth | Amercent Films/ American Entertainment Partners, L.P. | 20th Century Fox | $30,063,289 | |
| 1987 | Three Men and a Baby | Leonard Nimoy | Silver Screen Partners III | Touchstone Pictures | $167,780,960 | |
| 1987 | The Father Clements Story $^2$ | Edwin Sherin | Zev Braun Productions | NBC | — | |
| 1988 | The Seventh Sign | Carl Schultz | ML Delphi Premier Productions | TriStar Pictures | $18,875,011 | |
| 1988 | Cocktail | Roger Donaldson | Silver Screen Partners III | Touchstone Pictures | $171,504,781 | |
| 1988 | Crossing the Mob $^2$ | Steven Hilliard Stern | Bateman Company | NBC | — | |
| 1989 | Bill & Ted's Excellent Adventure | Stephen Herek | Nelson Entertainment/ Soisson-Murphey Productions/ DEG | Orion Pictures | $40,485,039 | |
| 1989 | Collision Course $^1$ | Lewis Teague | | DEG | — | |
| 1989 | Renegades | Jack Sholder | Morgan Creek Productions | Universal Pictures | $9,015,164 | |
| 1989 | Blind Fury | Phillip Noyce | | TriStar Pictures | $2,692,037 | |
| 1989 | My Boyfriend's Back $^2$ | Paul Schneider | | NBC | — | |
| 1989 | An Innocent Man | Peter Yates | Silver Screen Partners III | Touchstone Pictures | $20,047,604 | |
| 1989 | A Mother's Courage: The Mary Thomas Story $^2$ | John Patterson | Walt Disney Television | NBC | — | |
| 1989 | Everybody's Baby: The Rescue of Jessica McClure $^2$ | Mel Damski | Dick Berg-Stonehenge Productions/ Campbell Soup Company | ABC | — | |
| 1990 | The First Power | Robert Resnikoff | Nelson Entertainment | Orion Pictures | $22,424,195 | |
| 1990 | Bird on a Wire | John Badham | The Badham-Cohen Group | Universal Pictures | $138,697,012 | |
| 1990 | A Gnome Named Gnorm $^1$ | Stan Winston | Lightning Pictures | Vestron Pictures | — | |
| 1990 | Arachnophobia | Frank Marshall | Amblin Entertainment | Hollywood Pictures | $53,208,180 | |
| 1990 | The Secret Life of Archie's Wife $^2$ | James Frawley | Consolidated Entertainment | CBS | — | |
| 1990 | Three Men and a Little Lady | Emile Ardolino | Silver Screen Partners IV | Touchstone Pictures | $71,609,321 | |
| 1990 | Eve of Destruction | Duncan Gibbins | Nelson Entertainment | Orion Pictures | $5,451,119 | |
| 1991 | The Last to Go $^2$ | John Erman | ITC Entertainment Group | ABC | — | |
| 1991 | Aftermath $^2$ | Glenn Jordan | ITC Entertainment Group | CBS | — | |
| 1991 | Class Action | Michael Apted | | 20th Century Fox | $28,277,918 | |
| 1991 | Shoot First: A Cop's Vengeance $^2$ | Mel Damski | Harvey Kahn Productions/ ITC Entertainment Group | NBC | — | |
| 1991 | Bill & Ted's Bogus Journey | Peter Hewitt | Nelson Entertainment | Orion Pictures | $38,037,513 | |
| 1991 | Paradise | Mary Agnes Donahue | Touchwood Pacific Partners I | Touchstone Pictures | $18,634,643 | |
| 1992 | The Hand That Rocks the Cradle | Curtis Hanson | Nomura Babcock & Brown | Hollywood Pictures | $88,036,683 | |
| 1992 | The Cutting Edge | Paul Michael Glaser | | Metro-Goldwyn-Mayer | $25,105,517 | |
| 1992 | FernGully: The Last Rainforest | Bill Kroyer | FAI Films/ Kroyer Films/ Youngheart Productions | 20th Century Fox | $32,710,894 | |
| 1992 | The Gun in Betty Lou's Handbag | Allan Moyle | Nomura Babcock & Brown | Touchstone Pictures | $3,721,911 | |
| 1992 | Out on a Limb | Francis Veber | | Universal Pictures | $1,659,542 | |
| 1992 | Jersey Girl | David Burton Morris | Electric Pictures | Triumph Releasing Corporation | — | |
| 1993 | Foreign Affairs $^2$ | Jim O'Brien | | TNT | — | |
| 1994 | The Air Up There | Paul Michael Glaser | PolyGram Filmed Entertainment/ Nomura Babcock & Brown | Hollywood Pictures | $21,011,318 | |
| 1994 | Holy Matrimony | Leonard Nimoy | PolyGram Filmed Entertainment | Hollywood Pictures | $713,234 | |
| 1994 | Terminal Velocity | Deran Sarafian | PolyGram Filmed Entertainment/ Nomura Babcock & Brown | Hollywood Pictures | $16,487,349 | |
| 1994 | A Part of the Family $^2$ | David Madden | | PolyGram Filmed Entertainment | — | |
| 1995 | Roommates | Peter Yates | PolyGram Filmed Entertainment/ Nomura Babcock & Brown | Hollywood Pictures | $12,096,881 | |
| 1995 | Separate Lives | David Madden | | Trimark Pictures | $961,147 | |
| 1995 | Body Language $^2$ | Eric Harlacher | | HBO | — | |
| 1995 | Operation Dumbo Drop | Simon Wincer | PolyGram Filmed Entertainment | Walt Disney Pictures | $24,670,346 | |
| 1995 | The Tie That Binds | Wesley Strick | PolyGram Filmed Entertainment | Hollywood Pictures | $5,830,454 | |
| 1995 | Two Much | Fernando Trueba | PolyGram Filmed Entertainment/ Sogetel | Touchstone Pictures | $1,141,556 | |
| 1995 | Jumanji | Joe Johnston | | TriStar Pictures | $262,322,000 | |
| 1995 | Mr. Holland's Opus | Stephen Herek | PolyGram Filmed Entertainment | Hollywood Pictures | $106,269,971 | |
| 1996 | Boys | Stacy Cochran | PolyGram Filmed Entertainment | Touchstone Pictures | $516,349 | |
| 1996 | Kazaam | Paul Michael Glaser | PolyGram Filmed Entertainment | Touchstone Pictures | $18,937,262 | |
| 1996 | The Associate | Donald Petrie | PolyGram Filmed Entertainment | Hollywood Pictures | $12,844,057 | |
| 1997 | Dead Silence $^2$ | Daniel Petrie, Jr. | Alliance Communications | HBO Pictures | — | |
| 1997 | Gridlock'd | Vondie Curtis-Hall | PolyGram Filmed Entertainment | Gramercy Pictures | $5,571,205 | |
| 1997 | Snow White: A Tale of Terror $^2$ | Michael Cohn | PolyGram Filmed Entertainment | Gramercy Pictures | — | |
| 1998 | The Proposition | Leslie Linka Glatter | | PolyGram Filmed Entertainment | $147,773 | |
| 1998 | Very Bad Things | Peter Berg | Initial Entertainment Group/ Ballpark Productions | PolyGram Filmed Entertainment | $9,898,412 | |
| 1998 | What Dreams May Come | Vincent Ward | | PolyGram Filmed Entertainment | $55,382,927 | |
| 1999 | Runaway Bride | Garry Marshall | Lakeshore Entertainment | Paramount Pictures/ Touchstone Pictures | $309,457,509 | |
| 1999 | Teaching Mrs. Tingle | Kevin Williamson | Konrad Pictures | Dimension Films | $8,951,935 | |
| 2000 | Pitch Black | David Twohy | PolyGram Filmed Entertainment | Gramercy Pictures/ USA Films | $53,187,659 | |
| 2000 | The Three Stooges $^2$ | Glenn Jordan | Icon Entertainment International | Columbia TriStar Television | — | |
| Box office total: | Box office total: | Box office total: | Box office total: | Box office total: | $2,042,925,021 | — |
$^1$ Direct-to-video release. $^2$ Released as a made-for-television film