A recent essay for Foreign Affairs, “The State of the State”, criticises Western governments for failing to innovate. The authors make an unfavourable comparison with China, which, though still autocratic in nature, has at least looked abroad for ways to make the state work better (if only in a necessarily limited scope). One doesn’t need to look much farther than France to see what happens when the state fails to innovate. President Hollande has done his very best to inculcate a backward ideology of indolence among its workers, but the negative effects of over-regulation have been present in France for some time. One major step that is in drastic need of undertaking is the simplification of France’s opaque labour laws, the code for which runs to 3,492 pages, according to a recent article in The Economist. A stark and laughable example of the limits of such a code is elaborated on below,
“[The code] impose[s] rules when a firm grows beyond a certain limit: at 50 employees, for example, it must create a works council and a separate health committee, with wide-ranging consultative rights. So France has over twice as many firms with 49 staff as with 50.”
France of course also has a strong sense of state oversight and sponsorship when it comes to the media industry. L’exception culturelle has long dominated discourse about what content is appropriate and designated to be high art. Such safeguarding of domestic product has been a thorn in the side of late of the EU / US trade partnership, threatening to derail negotiations. Some have argued that such promotion of homemade productions serves not to diminish foreign imports – a love of Americana has not subsided in France – but rather only to preserve a niche. Regardless, argues a recent editorial in one of France’s national newspapers, it has left the country’s media sector susceptible to disruption.
Today’s Le Monde newspaper features a front page editorial on the arrival Monday to the country of Netflix. The company announced its plans for European expansion at the beginning of the year. It won’t have everything its own way, though. Netflix will have to adapt to a very different market environment. The Subscription Video On Demand (SVOD) market is well-established, and it will see much competition from incumbents (last year annual revenues for companies based in France providing such services exceeded EUR10m). These incumbents charge little or nothing for their services, relative to the $70-80 a month Americans pay to a cable company to watch television, according to The Economist, which states “Netflix struggled in Brazil, for example, against competition from local broadcasters’ big-budget soaps”. Moreover, current government policy dictates a 36-month long window from cinema release to SVOD. We’ve argued against the arbitrariness of such windows before, for a variety of reasons, but here such policy surely negatively impacts Netflix’s projected revenues. Such projections will be curbed further by stringent taxes and a further dictat that SVOD services based in France with annual earnings of more than EUR10m are required to hand over 15% of their revenues to the European film industry and 12% to domestic filmmakers, according to France24. As well as traditional competition, Netflix also faces threats from OTT rivals, such as FilmoTV. One possible way around such competitor obstacles is the promotion of itself as a complementary service. The New York Times earlier this spring elaborated,
“Analysts say Netflix, which has primarily focused on older content more than on recent releases, could also survive in parallel to European rivals that have invested heavily in new movies and television shows. Netflix in some ways serves as a living archive, with TV shows like “Buffy the Vampire Slayer” from the 1990s or movies like “Back to the Future” from 1985. Such fare has enabled the company in Britain, for example, to partner with the cable television operator Virgin Media, which offers new customers a six-month free subscription to Netflix when they sign up for a cable package.”
Such archive content will come in handy, particularly given that, as Le Monde points out, Netflix had previously sold the rights to its flagship series ‘House of Cards’ to premium broadcaster Canal Plus’ SVOD service Canal Play (which itself is investing in new content). The article hesitates to guess how much of a success the service will be in France – something Citi has no problem in doing, see chart below – instead looking to the music industry for an analogy, where streaming has become a dominant form of engaging with the medium. As in other markets, streaming services have met with increasing success, particularly with younger generations. For Le Monde, the arrival of Netflix will undoubtedly ruffle a few feathers, but the paper also hopes it will blow away the cobwebs of an industry that has become comfortable in its ways; it hopes the company will provide a piqûre de rappel (shot in the arm) for the culture industry. Netflix’s ingredients – by no means impossible to emulate – of tech innovation, easy access and pricing and a rich catalogue, should be a lesson to its peers. The editorial only laments that it took an American company to arrive on French shores for businesses to get the message.
UPDATE (16/9/14): TelecomTV reported this morning that Netflix has partnered with French telco Bouygues. The company will offer service subscriptions “through its Bbox Sensation from November and via its future Android box service. Rival operators are refusing to host Netflix on their products”.
“Wine is valued by its price, not by its flavour”
– Anthony Trollope
It would be difficult to argue today that attendance and appreciation of Shakespeare’s plays are not, for the most part, restricted to the large niche of the middle classes. This is a pity, and interesting, given that his works are ridden with ribald language, iconoclastic storylines and slapstick humour. In his time, the plays were attended and enjoyed by the masses, ageless and classless. Such reach is the envy of productions performed today. High ticket prices charged by theatres – in a quest to secure enough funding every season to recoup the cost of production – must bear some of the blame. But does price, apart from acting as an immediate barrier to entry for some customers, also act as its own signifier of what the event entails, and the audience it is appropriate for?
In 2009, BBC’s Question Time hosted writer Bonnie Greer and, among others, Nick Griffin, chairman of the radical BNP. The ordeal was such that Greer was inspired to write an opera chronicling the evening’s events. Performed at the end of 2011, Greer hoped Yes would make an effective contribution to the UK debate on both immigration and racism. Such substantive content is what media like opera need in order to maintain relevance.”It’s relatively recently that opera has been seen as an entertainment for the elite”, Greer commented. “It used to be a populist medium – I’d like to play some role in reinstating that status”. This runs counter to other contemporary productions, such as Stockhausen’s operatic sci-fi saga Licht, recently performed in Birmingham. At one point, a string orchestra ascends into the air in helicopters, while later a cellist performs lying on the floor. It would be remiss not to mention the climax of the production, which, Alex Ross, writing for The New Yorker, fails to describe: “Space does not permit a description of the scene in which [a] camel defecates seven planets”. It is hard to imagine such fare being everyone’s cup of tea. Indeed, it is this sort of seemingly self-interested, arcane and intellectually challenging art that is likely to turn people off an entire medium. Some institutions recognise this. Earlier this month the Royal Opera House hosted what they called the “first in a new series of live-streamed events to feature debate, performance, and audience questions”, around the question ‘Are opera and ballet elitist?‘.
In the past though, the Royal Opera House and other institutions have been too focused on short term gimmicks, with a focus on price, to get people through the door. The thinking is broadly logical: Why don’t more people come to the opera? / The opera is expensive / Lowering prices will attract more people to the opera. These three thoughts have plausible connections, but in reality little in common. Like ‘vulgar Marxism’, such an approach reduces the problem to its most simplistic attributes. It is a fallacy. Despite this, The Sun newspaper has in the past partnered with the ROH to offer tickets from GBP5-20. The scheme was a lottery system, guaranteeing few winners. It provides little opportunity for conversion into a regular customer. Meanwhile, both The Sun and the ROH achieve their aims of shifting brand perceptions. But there is far more that could be accomplished. The BBC reported positive reactions from those that took up the offer, “What The Sun is doing is fantastic – opening the opera up to people who wouldn’t normally be able to come”. This despite the fact that opera tickets are consistently available for GBP10 at the ROH, every season. Away from price, the English National Opera tried their own tactic in October last year, inviting people to enjoy the opera in “jeans and trainers”. But does the problem of democratising opera really have its answer in allowing people to wear denim? It seems absurd to think that a one-off event of such a nature could really attract new, long-term audiences. Indeed, The Telegraph reported on the affair, saying the ENO was missing the point, that in fact it was the “alluring glamour” of the medium that was what attracted audiences the world over; “It turns opera into an everyday thing, rather than something exceptional and magical”, wrote Rupert Christiansen. He elaborates on the problem,
“[Opera] can make for an atmosphere that outsiders and newcomers find exclusive and intimidating: it’s as though there’s a set of rules that nobody is going to explain or even admit the existence of. This… rubs up the wrong way against the Arts Council’s understandable insistence that the granting of subsidy via taxpayers’ money should mean open access at reasonable prices. Squaring this circle is a formula that nobody has yet managed to crack.”
The outgoing director of the ROH, Tony Hall – on his way to assume a new post at the BBC – wrote diary entries published last weekend in the FT. He wrote about the recent partnership established with the Theatro Municpal in Rio. Like the ROH, they are also looking to attract new audiences: “An idea I particularly like is where every seat in the house for a day a year is sold on the day for a real (about 33p)”. On the face of it this sounds noble and effective. Who wouldn’t want to see any form of entertainment, let alone an extravagantly produced opera, for a mere 33p? But let’s think about it. Doing this one day a year is miserly. It hardly encourages upselling, or long-term commitment. What it most assuredly encourages is that one day a year the opera house attracts plenty of press coverage as people line the streets queueing for such cheap tickets. Cheap tickets for one day a year is an act that smacks of condescension. And what of the price itself? Zeitgeist has written before about the power of behavioural economics. McKinsey have an interesting article on the study. To wit, for most people, consciously or otherwise, price is an overriding symbol of value. Price is used often, especially by premium brands, as a means of framing the product versus its peers. We often make irrational purchases on big-ticket items (a car being chief among these). Conversely, when something is cheap, especially when perceived as ‘too’ cheap, the consumer questions why it is at such a price, acting with suspicion. At its simplest, pricing tickets to the opera at 33p implies that it might not be something you would enjoy. The first reaction – often the most powerful – instilled in the consumer is one of trepidation.
Just as with the current government’s wrangling over minimum pricing policies for alcohol, the approach from the arts to occasionally allow the unwashed masses into their buildings misses the point. In the case of alcohol, the scheme was mainly invented to curb youth drinking, especially among the ‘working class’. But, as The Economist points out, “People on the lowest incomes, who are most price-sensitive, are surprisingly abstemious anyway; those in rich parts of the country, such as the south-east, consume copiously”. Shakespeare’s Globe does a good job of making the Bard’s plays accessible, with standing tickets for GBP5, something that Zeitgeist has taken advantage of several times over the years. It is one of the few artistic houses to have preserved this manner of watching a performance. It upholds tradition while at the same time ensuring the plays have access to a broader public. The Royal Court Theatre in London’s Sloane Square offers a few standing tickets for every performance for a mere 10p. It’s a great idea to have this option as a constant as, apart from anything else, it increases the likelihood of having returning customers who can be upsold to – or cross-sold to in the bar downstairs. Zeitgeist imagines however that the theatre could easily get away with charging ten times the amount for a standing ticket, with zero depreciable effect.
There is no doubt that a certain amount of price elasticity indeed exists with items like tickets to the opera. But occasionally releasing cheap tickets is not the whole answer. There are larger questions here on arts funding and the absence of dedicated, large-scale philanthropy in the UK that have not been discussed here, but will be important in encouraging accessibility to the arts. Earlier we mentioned the recent debate the ROH hosted asking whether people thought opera and ballet to be elitist. The problem with such a question is it immediately consigns the word ‘elitist’ to a pejorative category. One of the greatest points Jon Stewart ever made – now some years back – on The Daily Show, was that the word ‘elite’ should in some contexts be a good thing, something to be embraced. That some people excel in a certain discipline is something to be celebrated. That some art transcends others, is beautiful, challenging, creative and stimulating is something to be cherished. Instead the word and concept have become uniformly demonised. Though one could easily question ‘canon’ texts in any medium, there should be no need to mask something that is perceived as being ‘high art’, rather attention should only be paid to debunking any preconceptions about its exclusivity. Quick price gouges are most certainly not the answer to improving access to these forms of art. It takes time, relevance and above all a security in the knowledge that not everyone has to enjoy every type of entertainment. Just provide them with opportunities to be sufficiently exposed to it, without making it seem like you’re deigning to include them.
“If all signs are autonomous and refer only to one another, it must seem to follow that no image is truer or deeper than the next, and that the artist is absolved from his or her struggle for authenticity.”– Robert Hughes, 1989
Tom Wolfe, one of America’s greatest living writers, recently had his latest work, Back to Blood, excerpted in Vanity Fair. In it, the author excoriates the miasma of power, money, influence and ignorance that surrounds the contemporary art market. Wolfe describes the billionaires descending on Art Basel Miami as a “raveling, wrestling swarm of maggots”. What has become of art, its pursuit and its collection?
The pursuit of excellence can sometimes can be a quixotic quest, all the more so when dealing with something as ephemeral as art, and particularly with the contemporary art market today. But how does excellence, or authenticity, in art cope with a nexus of questionable experts and highly liquid but bifurcating market, in a world where promotion is all?
Part of this problem resides in the question of expertise, its influence and its value. If one thinks of artists in the period of the Italian Renaissance, the quality of the fresco or sculpture is mostly self-evident in the verisimilitude of the work. Moreover, the media worked with often necessarily involved painstaking, long-term commitment and toil. What artists like Marcel Duchamp began and Andy Warhol perfected was the thought that works of art should be valued by their conceptualism. In other words, not necessarily how much time or effort was put into making an object, or whether it was any “good”, aesthetically speaking, but with more emphasis on the power of the underlying idea – representation – behind the work. “Art can be expressed purely as a thought or action”, wrote the FT recently. This postmodern concept has not evolved since the time of Warhol. Without being able to critique the amount of expertise in the manufacturing of an object, it becomes harder to address the worth of an object, unless you are in the presence of a designated ‘expert’. The situation risks creating an echo chamber of unedifying art that speaks to no-one and is so self-reflexive it loses all meaning. It also allows for an artificial inflation of prices, creating a false market that shuts out all but the ultra-rich, whose tiny but influential numbers can significantly skew the market. One need only look at how much the Chinese taste for wine is influencing global production to see such an instance in action.
Such points were neatly summed up recently by the prestigious art critic and lecturer Dave Hickey, when he announced he was leaving the art world:
Writers, dealers, curators, advisers have become “a courtier class – intellectual headwaiters to very rich people”. For this 0.01%, “art is cheaper than it’s ever been” but “nobody cares if it’s any good, and everybody hates it when something’s really great”
The ‘experts’ who assign value to contemporary art objects have come full circle. Rightly recognising that there is art worth shouting about beyond an arbitrary, Westernised canon, it has now gone too far in the other direction. As a brilliant FT article on the subject recently pointed out, “The market loves theory because it spares the need for discrimination.” Making matters worse, the article quotes gallerist David Zwirner lamenting, “connoisseurship is really not valued, sometimes it is even looked down upon”. All of which leads to a highly fragile concentration of expertise and financial capital sitting with a select few. If we look again at the wine industry, American wine critic Robert Parker was at one time so influential that growers in France began changing their product purely to suit his taste so as to earn a higher rating on his guide. Zeitgeist asked art critic Brian Sewell at a debate earlier this year whether influential patrons such as Charles Saatchi and Francois-Henri Pinault were playing a similar role in the contemporary art world; shifting value perceptions of art and artists according to their personal whim. It helps little when major collectors like Frank Cohen admit publicly that they have “bought a load of bullshit”. The quotation may sound flippant, but it underscores the massive influence the bullshit they have bought has on the broader prices in the art market.
Art adviser Lisa Schiff spoke openly about this recently to Forbes magazine, saying she was “worried that there are a lot of young artists that could really take a nosedive”.This influence is being felt keenly right now with small but highly influential – and influenced – groups of buyers in Russia, Brazil and China. But as the BRIC regions continue to stall, what will happen to arbitrarily in-demand art and artists if these markets suffer further losses or even a sudden shock? Such problems are further compounded by the massive rise and fear of litigation, as previous, bona fide experts able to certify works as being genuine are being scared away by the threat of legal action.
So there’s an expertise fallacy here, one which is not restricted to the world of art. Elsewhere, marketing, something that admittedly has always been part of the selling of art to an extent, is becoming increasingly essential for a successful artist or studio. The Montoya exhibition currently on at The Halcyon Gallery in London represents the epitome of this new trend. Full-page ads in The Economist and 30-second spots on CNBC (see beginning of article) are being taken out for the exhibition, placed seemingly without irony at the feet of the very audience the art seems to be mocking, or at least parodying. It is the increasing lack of ironic awareness that creates an emptiness in the purchase and reputation of some of today’s bigger artists, including Jeff Koons, Richard Prince and Takashi Murakami. Interestingly, the latter two have both seen stratospheric success that goes beyond the confines of the art world, helped in part by collaborations with luxury goods company Louis Vuitton.
The marketing of art is at its most visible at contemporary art fairs – of which there are now more than 200 annually around the world – mentioned earlier as a subject of Tom Wolfe’s new work. Frieze, which takes place annually in London, is one of the most well-known. It was intriguing to see that this year saw the debut of Frieze Masters, which some saw as an attempt to breathe new life into an event that had begun to lose its ability to surprise. It was also seen as a deliberate attempt to focus attention on more established names in order to avoid some of the volatility the market has seen with newer, less-known artists. So the market isn’t so insular that it doesn’t recognise the need for significant change.
Collecting art is something that few of us can turn into a committed past-time. Moreover, the vagaries of art over the past ten years-plus have been such that only a select few would be able to decipher the worth of a current artist’s produce. The value of their art has been dulled by demographic shifts and concentrations, by overly-excessive marketing tactics and by a reduction and muddling of the nature of what it means to be an expert. Regulation of the sector seems overdue, as conflicts of interest and an oligopolistic marketplace seem to cry out for legal oversight. Some of these problems are not restricted to the art world and it will be interesting to see if a paradigm shift sits on the horizon. The Internet is providing some antidote to this. Recent online-only auctions by Christies – one of ArtInfo’s top ten stories that moved the art market in 2012 – have made the process of bidding for items extremely popular, and small art-sellers like Exhibition A are illustrating there is room for innovation in the industry. Is the art market in an aesthetic and financial bubble, and will it burst? Time will tell.
The lessons marketers can learn from Englands World Cup bid.
One of the things Zeitgeist likes to do when not identifying first class insights is finding inspiration in the real world that can be brought into the world of marketing.
Sometimes it is as simple as this deconstruction of the Rolling Stones Gimme Shelter that demonstrates how a fantastic creative execution is made during the fusion and collaboration of individual genius contributing their own part to the mix.
However over the past week one half of Zeitgeist has been lucky enough to be given an insight of their own into the pitch process.
Last week I was lucky enough to attend the excellent APG Battle of Big Thinking which pitted planners from around the industry against each other as they debated their big thoughts.
In the semi-informal atmosphere of the architecturally interesting British Library the style and charisma of the presenters was often more influential that their actual idea.
It is rare to be able to watch another team pitch and in the much more serious arena of the Messe Zurich it provided a few more lessons that we can bring into our own business.
The most important of which is to understand the criteria against which you will be judged. This isn’t always as simple as looking at the brief. You have to understand what your audience really want and why you are there.
However a quick look at previous World Cup hosts suggests that much of that is irrelevant and what FIFA want is to enter new markets and leave a legacy.
Up to 1990 the World Cup was alternatively hosted between South and Central America and Europe. In the 90’s with the break up of the Eastern Bloc and growth of technology like the internet and mass broadcasting the world and the world of football changed dramatically.
Then in 1996, FIFA awarded the 2002 World Cup to Japan and South Korea for what was the first Asian World Cup.
In 2014 it will be held in Brazil, the nation that puts the ‘B’ into ‘BRIC’. They haven’t hosted it since 1950 and it will be the first time the event has been hosted in South America since Argentina invited the world to sample the delights of a military dictatorship in 1978.
So with this knowledge at hand the question arises as to whether England really thought they stood a chance of winning the 2018 bid. All the attributes that would have made them a stand out candidate as hosts before 2000 now count against them. The irony is that before then, the Taylor Report had only just forced clubs to upgrade their dilapidated facilities so they wouldn’t have been ideal candidates for earlier World Cups either.
The pitch itself was excellent.
If FIFA president Sepp Blatter was a balloon he’d have popped as he introduced the future King, current Prime Minister and icon David Beckham to plead with him and his mates for the right to host the World Cup.
Opened by the excellent Eddy Afekafe the presentation answered exactly what England would have wanted to see if they were choosing the venue.
Unfortunately FIFA’s criteria was different and that’s why the bid failed.
So what other lessons can we learn that will help us when we pitch to prospective clients?
It doesn’t matter how well you present if you don’t tick their requirements.
It doesn’t matter who pitches if you don’t meet their requirements.
It doesn’t matter how in love you are with your own solution if it doesn’t meet their requirements.
For all the claims of corruption and a stitch up, England were fighting a losing battle from the beginning. In any case, the idea that good Olde English values of fair play would somehow infect an international cabal of sports administrators when national and personal fortunes are waiting to be made does seem naive to say the least.
With the newly branded St George’s Park finally getting the go-ahead after years of delay it looks as though we might finally be investing in training a team of World Cup winners rather than trying to get home advantage. Maybe our efforts should have been spent getting it finished sooner instead of chasing impossible dreams.
And that’s the fifth and final lesson for agencies. Next time you get the chance to pitch, stop and think about whether you actually really stand a chance.
Does this company always appoint local or global agencies? Is the pitch just an excuse to justify giving it to the incumbant? What is your role in the process? Are they just after some new ideas? Who is actually making the decision?
Be brutally honest. If you don’t think you stand a chance, work out how much you would have wasted pitching and instead invest it in developing your own staff and boosting their morale. They already believe in you and will service your existing accounts all the better for it.
At the height of summer, Hollywood can always be counted on to release its annual glut of rambunctious, noisy films for the gluttonous, rambunctious, noisy masses (read teenagers). Zeitgeist commented previously on the exceptional marketing efforts gone to by Disney and Pixar for “Toy Story 3”. The film was finally released the other week in the UK, having been pushed back to make way for the onslaught of the World Cup. This article will be focussing on four very different films and the differing marketing efforts employed in them; “Eclipse”, “Inception”, “Knight and Day” and “Tron: Legacy”.
The third film in the Twilight saga, “Eclipse”, has recently exploded into cinemas, making $280m in it’s first week at the global box office. In the film, Robert Pattinson’s ‘Edward’ drives around in a pining manner in a Volvo XC60 SUV. The car, owned by China’s Geely created their “most expensive campaign to date to promote its tie-in”, according to Variety. In the series’ sophomore outing Volvo had played on its product placement almost entirely online with their “Come and See What Drives Edward” campaign. In the new film there is another website, “Lost in Forks”, which is being more heavily promoted on TV in a cheesy, Americanised way (this is the ad Zeitgeist saw the other night). The site asks the user to play a game in order to be in with a chance of winning the XC60. The game, however, is interminably boring for all but the most dedicated of Twilight fans (who fortunately for Volvo number in the tens of millions); Zeitgeist lost all interest in entering the competition and having their information captured for Volvo to use in the future. Variety points out “the SUV is also being given away by Burger King as part of the chain’s own ‘Twilight’ tie-in and gives the vehicle a shout-out in its ads.” Even for the first film in the series, in which the Volvo C30 appeared but the brand had “no advertising budget”, the car “received millions of impressions [and] increased consumer traffic through [US] and international dealerships”. It helps that the author of the novels, Stephanie Meyer, had, bizarrely, sprinkled her books with mentions of Volvo.
Volvo took a back seat to Mercedes for product placement in Christopher Nolan’s “Inception”, the only product placement example in the film, writes BrandChannel. However, the film’s marketing has far more impressive accolades, namely its integration with Facebook. Although every brand and its uncle sees Facebook advertising as a sine qua non nowadays, the team at Warner Bros. created an imaginative and engaging campaign that helped raise awareness and excitement for a movie shrouded in secrecy. On the UK Facebook fan page for the film, competitions were announced that took place in Brighton, London and other locations. A man, suited and wearing sunglasses, and carrying the silver briefcase showcased in the film, appeared at various locations along with a vague clue or riddle as to where he was. The first person to solve the riddle and find the man was given tickets to the UK premiere. It’s an idea sui generis, and it evidently paid off. Apart from the film opening at No.1 and beating out “Toy Story 3” in its second week to retain its top spot, sometimes almost a hundred people would comment per competition when all was said and done. The great engagement continued in more simple ways when the film opened, with reviews posted from various publications, and asking fans whether they would be seeing the film again…
eConsultancy praised the efforts, saying they produced “a marketer’s dream campaign” (no pun intended I’m sure). The article details how Warner Bros. “went to great pains over its blog outreach campaign, utilising major and minor movie fan sites to help spread titbits of pre-release information.” They conclude with the pithy insight, “It’s worth contrasting this against that similar old media behemoth, the music industry, who have consistently struggled to find a new marketing model that competes with free sharing and piracy.”
All seemed not quite as rosy initially for the Tom Cruise / Cameron Diaz starrer “Knight and Day”, with the New York Times predicting before its release that it would fall short of expectations. The two stars, however, have gamely been showing their faces around the world, and not only at premieres, in this case touring Brazil before spending hours with fans in London. They also showed up at the Tour de France, watching from the side of the road before helping the eventual winner lift the trophy. Very soon the film will have it’s ‘People’s Premiere’ at London’s Somerset House, giving the film the added publicity of having two premieres. Finally, last week the duo showed up on the BBC’s “Top Gear”, driving the show’s ‘reasonably priced car’. The show is still available on iPlayer, and in Zeitgeist’s opinion well worth the watch. This kind of globe-trotting coverage is perfect fodder for the target audience, the kind who like big explosions, fast cars, and lean storylines.
The last film Zeitgeist will be discussing is the release this winter – December 17th in the US – of the second Tron film, “Tron: Legacy”, which, by the time it opens, Disney will have committed “three and a half years priming the audience” for, according to the New York Times. The team at Disney has – much like “Inception” did in a much shorter timeframe – been feeding rabid fans tidbits piece by piece, with the release of a new trailer (see below) at Comic-Con recently, where one arrived at the screening via a themed entryway, a great piece of experiential.
“Marketing campaigns for what the industry calls ‘tent-pole’ movies… have traditionally started about a year before their release in theaters [sic]. Increasingly, there is scarcely enough time… The goal is to make movies feel like must-attend events”.
Multi-channel integration, be it on Facebook as with “Inception” (and as with Disney’s newly purchased Playdom for $760m), through supporting Disney channels as with “Tron: Legacy”, or through mobile games that extend the movie’s universe, will help bolster revenues. However, as digital video recorders like Sky+ in the UK and TiVo in the US continue to erode film’s main piece of publicity – the trailer – and as DVD sales continue to plummet, without much offset from Blu-ray or online avenues, the film industry is increasingly less wary about taking risks when it comes to how films are promoted. One thing is for sure though, sometimes you just can’t beat a great trailer…
With the FIFA World Cup getting ever closer, Zeitgeist was excited to learn that Mars have recruited former Watford, Liverpool and England legend and scorer of a wonder goal in the Maracana, John Barnes to recreate his ‘World In Motion’ rap for their new TV campaign.
Barnes’s famous rap was arguably the pinnacle of normally dire team bonding songs that generally accompany a foray into a large tournament or cup final – apologies to Ossie Ardiles and Baddiel and Skinner – because it actually demonstrated genuine musical ability.
As part of their campaign, Mars are offering 15 people the chance to appear alongside Barnes in the recreation which will include slightly altered lyrics to incorporate the Mars brand.
Given the FA’s decision not to launch their own World Cup song, for the first time since 1966, hopefully the nostalgic Mars recreation will be matched by a slightly more successful campaign on the pitch.
All we need now is for Kleenex to sign Gazza to recreate his famous tears…