The Issues Raised in the Targeting of National and Local Audiences (specifically, British) by International and Global Institutions

The Issues Raised in the Targeting of National and Local Audiences (specifically, British) by International and Global Institutions - By Sophie and Yasemin. 

Film Distributor's Association - Process of a Film

Process of a Film;

SCENE 1: INTRO;
- Film can come from a range of ideas such as;
                     - book, a historical figure, inspiration

SCENE 2: ROLE OF DISTRIBUTION;
- Lord Puttnam of Queensgate CBE says - 'movies enrich our lives. They influence the games we play, the music we enjoy, inspire the fashions and advertising images that spring up all around us'.
  - Films come to life when they "invade the consciousness of the citizens - consumers - for who they were intended." 
  - aim of distributors is to deliver largest possible audience which is not easy when there are so many other options available i.e; 500+ titles released in the UK a year.
                                          - research shows most people know what they want to see before arrival - due to competitive efforts to promote interest in films.
- tailor-made/ audience-focused distribution is vital to prospects of independent films.
- the change of digitization via 35mm prensentation has had a transformative impact.
                      - digital has changed the way films are released, promoted and consumed, and has reshaped what entertainment cinema can be.

SCENE 3: WHAT DO DISTRIBUTORS DO?
- Distributors;
  - identify the audience for a film.
  - consider why people would go and see a film.
  - estimate the revenue potential across all formats of its release.
  - persuade the exhibitors to play the film.
  - develop plans and partnerships to build awareness and interest of a film.
  - aiming to convert as much interest as possible into cinema visits.
- Film is product-driven and is why people by tickets. Today consumers call the shots to decide the content they want to receive/reject/access and deliver.

SCENE 4: WHO ARE DISTRIBUTORS?
- UK has 6 major distributors.
- many independent distributors who handle films outside of the major studios.

SCENE 5: HOW DO DISTRIBUTORS GET FILMS?
- 3rd party sales agent.
- continuous flow of new content from a partner studio.
- studio/production company who distributor has negotiated with.
- single title got at any stage
  - larger studios and major producers may get 'first look' - maybe to produce or help with finance
  - with big-budget blockbusters, a studio may sell off international rights to other distributors
  - independent distributors may get films from independent producers - film festivals are good for discovering new films.
ACQUISITIONS;
- film copyright = owned by people or organisations that may produce/finance them.
  - entitles creators to receive a fair return for risks they take in innovation and investment
  - bringing films to market, distributors act under license on their behalf.
- when distributing they look for features, i.e;
  - originality
  - fresh angle or 'hook'
  - publicity campaign
- distributor's opinion on a film's marketability should be known before production. Distribution deal needs to be in place - whether due to a hot script/director/anticipated cast.
- distributors often seek financial support in a number of ways inc;
       - pre-sale to distributors.
       - bank loans.
       - institutional investors.
       - private individuals.
       - beneficial tax schemes.
       - public subsidies i.e; National Lottery funding. 
- films very rarely make profit from cinema release alone - looking at longer path; 'downward chain' = DVD release, VOD platforms, airline deals, PPV e.g; Sky/Freeview/Non-theatrical sales eg; cruises.
FILM FINANCING;
- distributor becomes a partner in a project and contributes to development/production costs.
- may pay an advance/minimum guarantee against future earnings to producer/sales agent.
FILM FESTIVALS;
- common ones = Sundance/Berlin/Cannes/Venice/Toronto - they provide;
  - a market where distributors may meet sellers.
  - competition - films win prizes.
  - high-profile platform - films shown prior to release. 

SCENE 6: MAKING A DEAL;
- distributors sign a contract with producer/sales agent/studio - list rights they hold to film inc. right to release it in the UK and promote in all media before/during release.
- may be provision of film editing to secure a classification.
- contract sets income from releases apportion and how its accounted for and set a date for end of license.
- distributors normally seek all available rights and to spread risk/opportunity across all platforms. 

SCENE 7: PLANNING RELEASE;
- sometimes a film is locked so the distributor can see exactly what they're dealing with: they'll know how well the movie has done and how strongly cast performed.
- distributor develops plan in consultation with producers and/or studio as appropriate.

SCENE 8: WHAT, WHEN, WHO, HOW?
- distributor decides how and when to release a film;
   - use market knowledge, commercial experience, statistical research and professional judgement - they gauge audiences.
- when distributors have estimated what a film may earn they prepare a budget.
- goal is to make a profit but film release is tricky - audience choice is large and profit can be minimal.
WHAT?
- what kind of film is it?
- star power among the cast? Are they available to attend premieres? Are they/film up for awards?
- Is there already a buzz about the film? Is it based on a book? Did it receive well at a festival? How big was the premiere?
- will there be a sequel? Is it a sequel?
- what certificate will the film have?
   - this affects potential audience as a higher certificate = possibly less success due to limited audience. 
WHEN?
- what films are out at the same time?
- are the most appropriate 2D/3D screens available and likely to be offered?
- key events surrounding release i.e; football matches, olympics etc.
WHERE?
- distributors soon begin to look at the type of release they need;
  - in the UK and Ireland alone there are 550 cinemas with 4000+ screens.
- a saturation release at cinemas everywhere may open simultaneously on 1000 screens in the UK: playing 2+ screens per multiplex
  - this is usually deployed for tentpole/star-led movies which helps to accommodate eager audiences.
DIGITAL TRANSFORMATION;
- encoded media files containing films are delivered to cinema i.e; on hard drive or via a satellite link called DCP's (Digital Cinema Prints).
  - ingested into a powerful server at the cinema and played through a state-of-the-art digital projector. 
- no scratching or deterioration. 
  - digital remastering means old classics can look as good as new.
- VPF's (Virtual Print Fees) =most widely used method of financing conversion of 35mm to digital. 
  - savings from this go to the cost of equipment.
- By spring 2013 - nearly all 3750 UK cinemas had installed a digital projection system. 
HOW?
- distributors view film and conform release plan: pay all release costs inc. marketing and making prints and draw up detailed plan covering launch and sustaining of the film post-release. 
- budgets estimated by total UK distribution expenditure which varies from 1000's to £4-5m per film.
  - worldwide film can cost $100-200m to produce and another $100m to release.

SCENE 9: FILM MARKETING;
- a distributor needs to create visibility and raise enough awareness and interest in a film to persuade potential audiences to buy tickets and go and see it at the nearest cinema - ignoring all other entertainment options.
- marketing inc;
  - creative/production.
  - digital/social media.
  - online/offline publicity/PR.
  - advertising.
  - promotions and events. 
- marketing plan = complement overall distribution plan.
  - designed to navigate route to market that allows interest to peak - taking into account competititve environment: not lost under other films available. ]
FILM ARTWORK;
- film artwork distills main appeal and positioning of film inc. stars/genre.
- so many posters on offer in a cinema, distributors and designers must ensure all stand out
  - they are released online and therefore are important as they spread across media platforms. 
- distributors provide display materials for cinema foyers
  - freestanding cardboard cutouts, special standees, bunting, banners, window clings, floor stickers and mini posters produced/tailored for each multiplex/independent. 
- help consumers make final decision at present and for future visits.
TRAILERS;
- these are strongest and most cost-effective form of marketing
  - play on big screen to select group of cinemagoers and online/mobile where usually appear first.
- what to include in a trailer is carefully picked - distributors usually inc. most dramatic moments - but at early stages SFX/VFX isn't added.
- trailers are edited according to classification to secure max play time
  - one for a 12A film may be played before a U/PG film as long as trailer isn't higher then that film - important as may not be enough higher-rated fare before your film is released with which you can schedule you trailer.
PUBLICITY;
- assessments of 'PR-ability' of a film starts in earliest days of production.
- the earlier that pre-disposed consumers are aware that for fans to see film-focused magazines is important as it creates an excitement.
- production companies provide film hots for journalists with;
  - cast and crew list.
  - biographies.
  - facts about production.
  - synopsis. 
- important to have quality photographs for publicity.
- publicity teams arrange interviews with cast and gain entry into press conferences/premieres.
- media stunts.
AWARDS;
- mounting speculation of BAFTA's and Oscars lasts up to 5 months before
  - nominations and wins is important for publicity campaigns of film.
- a 'Best Film' accolade can rejuvenate a film's box-office takings and extend its shelf-life. 
  - if it weren't onscreen at thee time, it may cause re-release to optimise prestige. 
THIRD PARTY AND BRAND PROMOTIONS;
- in promotion there may be one-off promotion with a food/drink/confectionery brand/electronics/clothing retailer/mobile phone/coffee shop etc.
  - designed to deliver promotion on high streets.
RESEARCH AND TRACKING;
- research = important to discover;
  - what elements are most entertaining.
  - characters/actors most motivating.
  - settings most appealing.
  - audience most engaged - can inform everything from production of trailers to apps.
- stage 2 of research is 'tracking' - which comes as a result of a telephone survey conducted among 2000 cinemagoers each week: split into quadrants of under 25's and by gender. 

SCENE 10: LICENSING FILMS TO EXHIBITORS;
- key part of any distribution plan is where a film should play;
  - what sorts of cinemas are appropriate?
  - with intended audience - how can theatrical release achieve greatest impact?
- every release is a joint-venture;
  - distributors screen forthcoming titles and discuss release dates and marketing.
- during the agreement stage, sales team negotiate a confidential license agreement with each exhibitor; under UK law, maximum booking period for new releases is 2 weeks, after can continue weekly under agreement as long as its got a significant audience.
- process = a hard drive is dispatched by the technical department to each cinema that has booked the film - data is ingested into a server connected to a digital projector.
- process for IMAX = celluloid prints are delivered broken down into reels contained in sealed cans; security protocols mean hard drives are returned/reused and celluloid prints are destroyed under supervised conditions: recycling as much as possible
  - a copy is usually kept for future generations. 
BOX-OFFICE RETURNS;
- exhibitors use computerised box-office/ticketing systems and submit a weekly return for each title and indicate to a distributor how many tickets were sold and at what price.
- sum of what distributors earn is actually less then what is shown in box office news.
- generally, UK distributors receive 25-40% gross eg; a film grosses at £5m, so distributors will get around £1.5m.
HOLD-OVER CHALLENGE;
- computerised till systems enable the ticket sales and advance bookings for any film to be tracked every hour.
- negotiations with distributors and each exhibitor concerns;
  - all new releases on market.
  - any previews planned for the coming week.
  - screen average of every film. 






         

Marketing for 'The Martian'

Marketing for ‘the martian’ from Sophie Rudd

Working Title Research - relationship with Universal and Marketing process

1) How long have Working Title ‘re-upped’ with Universal till?
= They re-upped in June and will be running through with Universal until 2020.

2) Who else do Working Title work with apart from Universal?
= Working Title have also formed strong relationships with ‘Studio Canal’ (Tinker Tailor Soldier Spy), and have also done deals with ‘MRC’, ‘Warner Bros.’ and ‘Sony’.

3) What does this allow them to do?
= It gives them the opportunity to operate across both studio and indie playing fields, as well as being able to continue making the fare-intelligent , mid-budgeted dramas and comedies which are predominantly taking over premium TV.

4) Why do they go to film festivals?
= The pair feel that any additional spotlight you can gain for a film (especially when it opens the festivals) is great thing to get. For them, the Venice film festival is a particular favourite as many of their greatest films have opened there (inc; ‘Tinker Tailor’, ‘Elizabeth’ and ‘Atonement’).

5) What benefits do WT get from working with Universal?
= Fellner - WT ultimately benefit from the power that Universal have as a distribution company – the power they have within the market place in terms of exhibition, TV deals, and the positive environment it provides is brilliant as well.
= Bevan – Believes they also benefit from the fact that Universal have a brilliant distribution and marketing team. He refers to the distribution of films such as ‘Everest’, where Universal were able to notice even the smallest possibilities of heading somewhere else in the distribution process.

6) What is meant by ‘premium TV’?
= The larger shows which are being found in the market place at the moment/ can also refer to the rise of Internet TV platforms such as Netflix or Amazon Prime.

7) How much do studios spend every year on marketing?
= Bevan - Studios in the VOD business are spending a million dollars on marketing.

8) How much was spent on marketing Project X?
= $20m/VOD route – could spend $25 on marketing.

9) What is a tentpole movie?
= Definition – a tentpole movie is one which has “a commercial undertaking, a story franchise, or a fictional character that serves as primary support (for a company, television program, etc.) especially a blockbuster movie which compensates for a studio’s flops.”

Marketing and Exchange within Film

Evaluate the Digital Technologies used in the Marketing of Film in the UK and Consider How Audiences Use and Consume Film via Digital Technology:

= The use of digital marketing within the marketing of film in the UK can be considered a highly significant factor in ensure marketing reaches a high scale, and thus, reaches the audience to formulate consumption among members of the public. One such example comes from a film by Matthew Vaughn which is in post-production - that is 'Eddie the Eagle' which is using a range of digital technologies in order to market the film in such a way that would result in an audience using such technology to consume the film. Matthew Vaughn is also the producer of 'Kingsman: The Secret Service' and 'Stardust' - as well as the director of 'X-Men: First Class'. Ultimately, this use of digitial technology in terms of previous films may result in a wider level of market - reaching out to a wider audience - who may then use the knowledge of Vaughn's previous works as a reason to watch 'Eddie the Eagle'. Moreover, the two main cast members of Taron Egerton (who plays 'Eddie "the eagle" Edwards') and Hugh Jackman (who plays Eddie's trainer) have both starred in previous Vaughn films; this once again could result in a wider audience-reach in terms of marketing, and so, a greater level of consumerism. Following on, such information is often provided to the public via official adverts which can be found on social media sites like YouTube and possibly through links that one may be able to access on other social media sites such as Twitter. Consecutively, this leads on to the next form of digital technologies that assists in the marketing of film in the UK: social media. Both 'Eddie the Eagle' and another film recently released in UK cinemas called 'The Danish Girl' have their own Twitter sites and Facebook pages, and also have features on other social media sites such as Instagram. Yet when one looks at the digital technologies used to promote a film like 'The Danish Girl' it is not just the film itself that uses social media sites for marketing purposes. 'The Danish Girl' has a vast range of articles featured on highly sophisticated magazines such as 'Variety', 'GQ' and 'W Mag'; and on the front covers of these magazines are usually images of the main cast members; and such a form of marketing can be found on many platforms - social media sites, in shops, online articles etc. Ultimately, the spread of magazine articles through such a vast range of digital marketing platforms also means that any reviews/criticisms or news stories concerning the movie are easily reachable for an audience. For example, one article which 'The Danish Girl' tweeted from their official Twitter page (@danishgirlmov) "Huge congrats to Alicia Vikander on her Best Supporting Actress win at the #CriticsChoice Awards! #TheDanishGirl". Not only does sucn a form of digital marketing on a social media platform create a buzz and spread awareness of the film, but it highlights the evidently high level of professionalism the movie withholds; it has an ensemble of credible actors (Edddie Redmayne's success is already highlighted through his Oscar win) and here we see that other cast members have equal acclaim. So this creates more reassurance for an audience at the possibility of using such digital marketing as inspiration to consume this film. Similarly, referring back to 'Eddie the Eagle', the website for the Sundance Film Festival has reviews for the film (and for 'The Danish Girl') which once again creates an extreme buzz around both films, which is an evident reason for an audience to consume the films in whatever way they can. However, for me, I believe that the way in which one exaggerates the certain connections within a film in the marketing can be key in making sure an audience uses this to consume. For example, with 'Eddie the Eagle' not only have the two main cast members featured in two other films of which Matthew Vaughn has either produced or directed, but the music of this film has connections as well. Recently, it has been revealed via social media digital marketing that musician and member of Take That Gary Barlow is releasing a new album which has songs that'll feature in the soundtrack for 'Eddie the Eagle'. Now fans of Gary and his band Take That may be aware that Take That wrote the songs for 'Stardust' ("Rule The World"), 'Kingsman: The Secret Service' ("Get Ready For It") and 'X-Men: First Class' ("Love Love"); ultimately, the mass following of such a band means that all of these songs have been purchased, people have watched the videos for these songs and, in turn, saw glimpses of the films that the songs accompany. Conclusively, this can be considered an important factor of digital marketing which would result in consumerism among an audience - particularly if they feel a desire to see a film having the knowledge that their favourite musician has also felt excited enough about a media product to write music for it. 

Film Distributor's Association

Film Distributor's Association;



• This website supplies the public with a vast list of films from past and present release, to future films to expect throughout the year.
• What I found from observing this website myself is just how incredible the media industry is when it comes to making, producing, marketing and distributing films.
  

  

  
  
  

  

  
  
  

  - This is especially highlighted by the vast amount of information one is supplied with on this website.
  - You are given several pages to look at, including; information about the website itself, the ability to book cinema tickets for cinemas in  the UK from the website - as well as a page with a phenomenal amount of important information dedicated to highlighting the issues surrounding fraudulent cinema companies, institutions and distributors: who is effected by piracy and fraud within the film industry, and how a member of the public is able to help prevent and report any cases of piracy.
  

  - I particularly enjoyed reading this page because, ultimately, piracy is an issue I don't believe enough people understand:

                         - piracy results in members of the public exploiting the film industry, gaining hold of current, past and new releases and selling them out on the open market.

                         - this consequently means that the institutions, producers, directors, actors, distributors etc. - everyone involved, everyone who put extreme amounts of effort and remarkable hours to make that film - do not gain the profit they so desperately need, or the recognition they truly deserve.
• Additionally, on the website you are able to see the current films which are in cinemas i.e; The 5th Wave, Ride Along 2 and Dark Places.
• You can see what films are expected to come out in the next few weeks i.e; Capture the Flag and Dirty Grandpa.
• 
  

  And you can also discover what films will be released throughout the year i.e; Now You See Me 2, Dr. Strange and The Girl on the Train.
                           - but alongside this information, you are supplied with information on who distributed the film (i.e; Warner Bros., Universal, Disney etc), when the film is aimed to be released and media information regarding that film - i.e; links to the film's website or social media pages.
• 

  The film I was most interested in looking at was Dark Places.
• This is a film based on the novel by Gillian Flynn - the same woman who wrote Gone Girl - which also became a film and gained quite a lot of success.
• I believe this highlights a key aspect in how and why institutions market their films in such a way; - 'Gone Girl' = a very successful novel before it was made into a film.
   - when it came out, the film posters used to campaign for the film contained the fact that the film was based on the novel written by Gillian Flynn.
                     - I myself read 'Gone Girl' - I loved it - and then decided to go and read 'Dark Places'. However, I never saw the film for 'Gone Girl'; yet I still desire to go and see the film for 'Dark Places' purely because I know and am aware that it is based on the author of 2 books which I love.
                    - And as I know the film for 'Gone Girl' was quite successful, this fills me with confidence at the prospect of going to the cinema to see 'Dark Places'.
• Ultimately, I believe that this has become a key aspect of how institutions campaign their films to a target audience. Whether it be on posters, in magazines, or on an advert - using key selling points such as which actors are in the film, or if the film is based on a book or not - can really help in ensuring the campaign for a film reaches out to the desired target audience: which would help to ensure the film gets seen. This also means that during the distribution process, the film sells well in the cinemas, which would also mean - upon releasing the film for purchase through TV channels, DVD's etc, the total revenue is greater for all participants involved in the film; and they gain a profit.
  
  
  
  
  
  
  
  
  
  

Research - 'Room' - Marketing and Distribution

'Room' is a new film for 2016 based on the best-selling novel by Emma Donoghue; an extraordinary story of a 5 year old named Jack who lives in a single room with his mother. He has never seen the outside world, he has never known the comfort of strangers except for his mother's - and the world of which most 5 year olds explore comes in the form of this one room for Jack. He makes friends with characters on his TV, and believes that the window above his head revealing the sky outside of it is his. So when it appears that Jack and his mother have finally found the perfect opportunity to lead a new life, Jack must find his courage and face this new world of which he has never known.

Distribution and Marketing;

'Room' - original book
By Emma Donoghue

'Room' has been distributed in a variety of ways. Particularly for films coming from an independent institution can sometimes require a larger scale of marketing - or a more specific campaign - to aim at the chosen audience. 

Luckily, being a book originally, this can have advantages for independent films due to the fact that the book will already have a following; therefore these people will more likely want to see the film. 

'Room' Official Twitter Page

Ultimately, the niche market of which this film both aims itself at and attracts comes from the nature of the book itself - and those who have read it. The book itself discusses issues such as obsession, domestic abuse and certain mental illnesses. This in turn, would make the film more likely to connect to maybe an audience of parents, people who have gone through similar issues (or ones which relate to the topics in the book) - and even to people who have read the book themselves. 

In order to distribute the film to such a market, the film 

has created pages on several social media sites such as Twitter and Facebook; the distributors of the film has even created an official website for the film.

'Room' Official Facebook Page

'Room' Official Website

This website is beautifully unique. When you first enter the website all you are supplied with is a plain background with moving images of the characters going across it, as well as the title of the film itself (as shown in the picture below). In addition, music is also played, which is the same as one of the songs the character of the mother sings to her son in the book. 

The website has a menu bar discreetly placed on the top left-hand side of the page and this supplies a user with a wide range of information i.e; the backgrounds of the various actors/actresses in the film, information on the film itself - such as who created it - and, most interestingly, a link to a page all about the author of 'Room' Emma Donoghue. 

'Emma's Corner' - a part of
'Room's official website

Emma Donoghue
Author of 'Room'

And this is another interesting factor with this film, The screenplays for films are very rarely written by the author themselves. However, I believe that this is a brilliant idea. As someone who reads a lot of books myself, I am also someone who finds I'm very often disappointed with how the book has been interpreted into a screenplay for a film or TV series. So to know that the author of 'Room' - a book I myself have read and highly enjoyed - is being made into a film, with the screenplay written by the author of the book, makes me want to see the film more; I believe this would also be the same for others who have read the book: thus, we are the ones who specifically fall into the niche market of which the film aims itself at.