By Mr. Robert Marich
While Hollywood executives spend thousands of greenbacks making videos, much more funds is poured into promoting these movies to the general public. within the 3rd variation of his entire guidebook, advertising to Moviegoers: A guide of techniques and strategies, veteran movie and television journalist Robert Marich plumbs the depths of the tools utilized by studios to industry their motion pictures to shoppers. Updates to the 3rd variation comprise a bankruptcy on advertising and marketing videos utilizing electronic media; an insightful dialogue of using track in movie trailers; new and increased fabrics on advertising certain towards affinity teams and awards; clean research of reserving contracts among theaters and vendors; a short historical past of indie movie advertising and marketing; and explorations of the missed capability of the drive-in theater and the revival of third-party-financed motion picture campaigns.
whereas many books were written at the business-to-business point of movie promoting, Marich’s quantity is among the few that makes a speciality of the suggestions used to promote movies to these capable of really make or holiday a film—the public. A hugely navigable guide that breaks down a classy technique into viable suggestions in an easy-to-read variety, advertising and marketing to Moviegoers is a needs to for all execs and scholars in today’s quickly evolving movie industry.
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Extra resources for Marketing to Moviegoers: A Handbook of Strategies and Tactics, Third Edition
Music from the film itself—the film score—is usually not available for the trailers, which are complex despite their short running time. Typically, a trailer has twenty-five to seventy-five musical elements, which are called cues. They can range from obvious melodies to subtle music that is altered so much that it sounds like special effects, such as “shooshing” sounds or faint, throbbing undertones. The three main sources for trailer music are expensive published music from recording artists, inexpensive production library music, and custom music.
This can mean a gritty battlefield, glamorous event for the rich and famous, or awe-inspiring landscape. • Is the music memorable and a selling point that can be used in trailers and television advertising? • Are there colors, backdrops, music, or props that are signatures of the film that should be carried over to advertising? • If a film carries or is expected to carry a restricted audience rating, is the creative message aimed at an appropriate audience? Audiences identify with heroes, which often are the centerpiece of advertising.
S. ) The use of trailers online—and not just in theaters—seems to have undercut the “tell-all trailer” technique because marketers want moviegoers to search elsewhere in cyberspace for answers to lingering questions about films. Also, there’s a feeling that trailers with a hint of mystery have a better chance of being forwarded by users to their friends, which is referred to a “talkability” characteristic. This is another nail in the coffin for the tell-all trailer. Another change due to the digital revolution is that moviegoers who see trailers online know the exact film they are seeing because they manually select it from an online directory.
Marketing to Moviegoers: A Handbook of Strategies and Tactics, Third Edition by Mr. Robert Marich