http://www.thehobbitblog.com/
Who would follow this?
How does it give the film longevity?
What does it mean for its fans primary and secondary audiences?
Lego movie marketing
Lego marketing strategy
http://econsultancy.com/blog/63745-the-lego-movie-s-solid-social-marketing-strategy
Online strategy - crowdsourcing and social media
http://econsultancy.com/blog/10322-lego-great-online-strategy-but-what-about-social
McDonald's Happy Meals
http://www.bing.com/videos/search?q=lego+movie+happy+meals&qpvt=lego+movie+happy+meals&FORM=VDRE
Apps
http://www.bing.com/videos/search?q=lego+movie+apps&qs=n&form=QBVR&pq=lego+movie+apps&sc=2-14&sp=-1&sk=
Deals
http://deals.money.co.uk/deal/136005-free-the-lego-movie-cinema-tickets-with-1-sun.htm
Merchandising
http://www.amazon.co.uk/The-LEGO-Movie-Videogame-PS4/dp/B00H3YS512
http://www.amazon.co.uk/The-LEGO-Movie-Videogame-Xbox/dp/B00H3YS66G
http://www.builtwithbricks.co.uk/archives/2216
http://imgur.com/a/nvVLq
http://www.bbc.co.uk/news/entertainment-arts-26116597
Future of cinema
http://www.theguardian.com/film/2013/feb/14/keanu-reeves-future-of-cinema
http://www.theguardian.com/film/2014/mar/24/divergent-muppets-grand-budapest?CMP=ema_861
Email from Clio Barnard
The budget was 1.5m.
For an answer to the second question I think the reviews of the film will answer that question. I wonder if its because it because the film is about love and loss and we all have experience of that. It's about feeling bereft, understanding the true value of a love once it's gone. Maybe it struck a chord politically too. The ideology of greed robs us of what is of real value. As Oscar Wilde said, we know the price of everything and the value of nothing.
I think you'd get a better answer about distribution from a producer. As a writer/director my advice is - never try to second guess what distributors want. Make the film you are passionate about, tell the story you need to tell.
Do think about audience, in so far as you have something to say and you want to be understood in all it's complexity. Hope that helps a bit?! Best Clio
For an answer to the second question I think the reviews of the film will answer that question. I wonder if its because it because the film is about love and loss and we all have experience of that. It's about feeling bereft, understanding the true value of a love once it's gone. Maybe it struck a chord politically too. The ideology of greed robs us of what is of real value. As Oscar Wilde said, we know the price of everything and the value of nothing.
I think you'd get a better answer about distribution from a producer. As a writer/director my advice is - never try to second guess what distributors want. Make the film you are passionate about, tell the story you need to tell.
Do think about audience, in so far as you have something to say and you want to be understood in all it's complexity. Hope that helps a bit?! Best Clio
Mainstream and Independent Research
Look at top 6 companies
Columbia
Paramount
Disney
20th Century Fox
Universal
Warner Bros
www.boxofficemojo.com
http://www.boxofficemojo.com/intl/uk/
and these two independent companies
Vertigo and Warp films - what are their most successful films and how much have those films cost.
Box Office Mojo - US film stats
BOX OFFICE MOJO
Answer the following questions with regards to US film sales
BOX OFFICE MOJO UK
Answer the following questions with regards to UK film sales
Film Industry Terminology
Use this MEDIA terminology in your essays: YOU WILL BE QUIZZED
- Mainstream - safe genre films that are distributed to mass, national and often international audiences
- Independent - films that have more localised appeal and niche audiences and that often utilise digital technologies to create 'brand awareness'. Independent films do not have access to extensive distribution networks.
- Production - the physical film making process
- Distribution - getting the films out to cinemas and paying for the advertising and marketing
- Exchange - OCR's commonly used terminology
- Multinational Conglomerate - large organisations whose business interests are global, utilising synergy and convergence and also cross media ownership.
- Monopoly - where one company dominates the market
- Oligopoly - where four or more companies dominate the market
- The Big Six - the four international organisations that dominate film distribution and form the oligopoly of ownership (owned by multi national conglomerates
- Globalisation - where films are distributed around the work through elaborate cross media networks
- Horizontal Integration - where one media company acquires another media company in the same sector eg Vue acquiring Warner Village Cinemas in 2003
- Vertical Integration - where the means or production and distribution are controlled by one company
- Digital technologies - primarily this refers to how the internet has changed the industry including advertising through and on websites, online distribution, streaming, legal and illegal downloading eg. through YouTube (file sharing)
- Synergy - where two or more compatible products sell each other eg. a film and CD (8 Mile)
- Merchandising - where the popularity of film are manipulated through the sales of spinoff goods eg. t-shirts and associated clothing, wristbands, stickers, badges and mugs
- Cross media ownership - where companies have interest in a range of media eg Sony and Gaming, film Distribution, electronic (media related) devices
- Convergence where film is advertised using a range of media platforms but also becomes available on one platform - the internet.
Example past questions
- What impact does media ownership have upon the range of products available to audiences in the media area you have studied?
- Cross media convergence and synergy are vital processes in the successful marketing of media products to audiences. To what extent do you agree with this statement in relation to your chosen media area?
- 'What significance does the continuing development of digital media technology have for media institutions and audiences?'
- 'To what extent does digital distribution affect the marketing and consumption of media products in the media area you have studied?'
- 'Successful media products depend as much upon marketing and distribution to a specific audience as they do upon good production practices'. To what extent would you agree with this statement, within the media area you have studied?'
- Media production is dominated by global institutions, which sell their products and services to national audiences. To what extent do you agree with this statement?
- What significance does the continuing development of digital media technology have for media institutions and audiences?
- How important is technological convergence for institutions and audiences within a media area which you have studied?
- Discuss the ways in which media products are produced and distributed to audiences with a media area which you have studied?
2014 Films
You will be choosing your own case studies of blockbuster and low budget indie.
http://www.theguardian.com/film/2013/dec/31/2014-film-preview-blockbusters
http://www.theguardian.com/film/2013/dec/31/2014-film-preview-blockbusters
Gravity marketing articles
Marketing chief Sue Kroll hopes to follow 'Argo’s' trajectory for Clooney, Bullock film
What kind of pull will “Gravity” have on moviegoers when it hits theaters Oct. 4?
The looming question for Warner Bros. is how to sell a unique 3D saga set entirely in space that predominantly relies on the performance of one star — Sandra Bullock — with virtually no supporting cast.
Moreover, director Alfonso Cuaron, despite being a highly respected auteur, hasn’t made a film since 2006’s “Children of Men.” That critically acclaimed sci-fi thriller cost around $80 million, and grossed less than $70 million worldwide.
“Gravity” isn’t a recognizable property (it’s based on an original script by Alfonso and his son, Jonas), and its harrowing premise — the terror of being stranded in outer space — doesn’t have an obvious marketing hook.
That said, Warner Bros.’ marketing maven Sue Kroll has had plenty of experience taking non-slam dunk movies such as “Argo,” “The Departed” and “Million Dollar Baby” from the starting gate to box office success — and even the Oscar finish line.
She has been campaigning carefully for “Gravity” since the spring, starting by unveiling a minute of footage in April during the film’s CinemaCon presentation in Las Vegas for exhibitors and press.
Three months later, in late July, Warners continued “Gravity’s” promotional trek, with a key stop at Comic-Con, where fanboys were shown about six minutes of footage, and Cuaron, Bullock and producer David Heyman tubthumped the pic. The movie then embarked on the Big Three late-summer festival circuit, opening Venice (Aug. 28), where it generated a burst of strong reviews, en route to Telluride and Toronto (premiering there Sept. 8).
Kroll notes that being promoted at a fan fest like Comic-Con and at three prestigious film festivals is quite an unusual distinction. “That’s a very rare combination for any film,” she says.
SEE ALSO: Alfonso Cuaron’s Signature Style Offers Unique Viewing Experience
Warners’ key selling point is that audience members will feel as if they’re in outer space with Bullock and George Clooney after space debris destroys their shuttle.
“ ‘Gravity’ is a unique movie that’s very visceral,” Kroll says. “As a viewer, you’re put right in the middle of the experience. I get a bit of a stomach ache from watching it.”
Warners has used only one tagline so far — “Don’t let go” — on its stark poster art, and has released several straightahead trailers (“Detached,” “Drifting” and “I’ve Got You”). One trailer began thusly: “Explorer, this is Houston.” “Go ahead, Houston.” “Mission abort.”
The studio is targeting a broad audience with spots that will run on football games, morning shows, TV season premieres and shows that include ABC’s “Modern Family,” NBC’s “The Voice” and AMC’s “Breaking Bad,” concurrent with an awards-season campaign, just as it did last year when it launched “Argo” at Toronto.
Kroll also believes that Bullock is a huge asset. Four years ago, the studio released “The Blind Side,” which grossed more than $300 million worldwide and won her the actress Oscar.
“Women and men really like her,” Kroll notes. “You really care about what happens to her character. You really want her to win.”
“Avatar” director James Cameron, who says he’s a huge fan of “Gravity,” which his pal Cuaron showed him weeks ago, says he hopes Warner Bros. “is going to sell it as the human story it is.”
Kroll, recently named president of worldwide marketing and international distribution at Warners, played a major role in the campaign for “Argo” — leading to the movie’s top Oscar and better than $230 million in worldwide ticket sales. But that film’s story was gossamer compared with “Gravity’s.”
The studio is also opening the Cuaron movie day-and-date in several major overseas markets including Australia, Germany, Italy, South Korea and Spain.
So sometime in early October the studio will begin to get a global answer to the question: Will audiences be drawn to “Gravity,” or will it land with a thud?
The looming question for Warner Bros. is how to sell a unique 3D saga set entirely in space that predominantly relies on the performance of one star — Sandra Bullock — with virtually no supporting cast.
Moreover, director Alfonso Cuaron, despite being a highly respected auteur, hasn’t made a film since 2006’s “Children of Men.” That critically acclaimed sci-fi thriller cost around $80 million, and grossed less than $70 million worldwide.
“Gravity” isn’t a recognizable property (it’s based on an original script by Alfonso and his son, Jonas), and its harrowing premise — the terror of being stranded in outer space — doesn’t have an obvious marketing hook.
That said, Warner Bros.’ marketing maven Sue Kroll has had plenty of experience taking non-slam dunk movies such as “Argo,” “The Departed” and “Million Dollar Baby” from the starting gate to box office success — and even the Oscar finish line.
She has been campaigning carefully for “Gravity” since the spring, starting by unveiling a minute of footage in April during the film’s CinemaCon presentation in Las Vegas for exhibitors and press.
Three months later, in late July, Warners continued “Gravity’s” promotional trek, with a key stop at Comic-Con, where fanboys were shown about six minutes of footage, and Cuaron, Bullock and producer David Heyman tubthumped the pic. The movie then embarked on the Big Three late-summer festival circuit, opening Venice (Aug. 28), where it generated a burst of strong reviews, en route to Telluride and Toronto (premiering there Sept. 8).
Kroll notes that being promoted at a fan fest like Comic-Con and at three prestigious film festivals is quite an unusual distinction. “That’s a very rare combination for any film,” she says.
SEE ALSO: Alfonso Cuaron’s Signature Style Offers Unique Viewing Experience
Warners’ key selling point is that audience members will feel as if they’re in outer space with Bullock and George Clooney after space debris destroys their shuttle.
“ ‘Gravity’ is a unique movie that’s very visceral,” Kroll says. “As a viewer, you’re put right in the middle of the experience. I get a bit of a stomach ache from watching it.”
Warners has used only one tagline so far — “Don’t let go” — on its stark poster art, and has released several straightahead trailers (“Detached,” “Drifting” and “I’ve Got You”). One trailer began thusly: “Explorer, this is Houston.” “Go ahead, Houston.” “Mission abort.”
The studio is targeting a broad audience with spots that will run on football games, morning shows, TV season premieres and shows that include ABC’s “Modern Family,” NBC’s “The Voice” and AMC’s “Breaking Bad,” concurrent with an awards-season campaign, just as it did last year when it launched “Argo” at Toronto.
Kroll also believes that Bullock is a huge asset. Four years ago, the studio released “The Blind Side,” which grossed more than $300 million worldwide and won her the actress Oscar.
“Women and men really like her,” Kroll notes. “You really care about what happens to her character. You really want her to win.”
“Avatar” director James Cameron, who says he’s a huge fan of “Gravity,” which his pal Cuaron showed him weeks ago, says he hopes Warner Bros. “is going to sell it as the human story it is.”
Kroll, recently named president of worldwide marketing and international distribution at Warners, played a major role in the campaign for “Argo” — leading to the movie’s top Oscar and better than $230 million in worldwide ticket sales. But that film’s story was gossamer compared with “Gravity’s.”
The studio is also opening the Cuaron movie day-and-date in several major overseas markets including Australia, Germany, Italy, South Korea and Spain.
So sometime in early October the studio will begin to get a global answer to the question: Will audiences be drawn to “Gravity,” or will it land with a thud?
Gravity interviews
This one's funny as you see them relaxed before the interview.
Loads more under here!
http://www.youtube.com/results?search_query=gravity+interview+george+clooney&sm=1
Gravity film reviews
http://variety.com/2013/film/reviews/gravity-review-venice-film-festival-1200589689/#
http://www.theguardian.com/film/2013/aug/28/gravity-review-venice-film-festival
http://www.theguardian.com/film/2013/nov/04/gravity-box-office-record-400m-october
http://www.independent.co.uk/arts-entertainment/films/reviews/film-review-gravity-8926958.html
http://www.independent.co.uk/arts-entertainment/films/reviews/gravity-review-sandra-bullock-space-epic-makes-other-blockbusters-look-leaden-8927020.html
http://www.dailymail.co.uk/home/you/article-2487943/Gravity-starring-Sandra-Bullock-George-Clooney-film-reviews-YOU-Maria-Realf.html
http://www.dailymail.co.uk/home/you/article-2493272/Sandra-Bullock-interview-superstar-making-new-movie-Gravity.html
http://www.huffingtonpost.co.uk/simon-thompson/gravity-review_b_4077297.html
Cinema on Demand
http://www.newstatesman.com/culture/2013/02/cinema-demand-top-five-places-watch-new-films-online
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