WEEK 8

 In 2009, the average marketing budget for a theatrical release from a major Hollywood studio was $35.9 million (source: MPAA)  For expensive, blockbuster movies, the marketing campaign alone can cost as much as half of the total production budget (source: Vogel).

 Not uncommon for large movies to make over 40% of their gross profits the first weekend, even if the movie stinks!  The first week in release is crucial and as a result studio marketing strategies are in full gear before the opening weekend.  Ang Lee’s “HULK” grossed 47% its total gross profits the 1 st weekend, only to make 69% less by the second. (source: boxofficemojo)

 Newspapers: 10.1 percent  Network TV: 21.6 percent  Spot TV (purchasing commercial "spots" from individual TV stations): 13.9 percent  Internet: 4.4 percent  Theatrical trailers: 4.2 percent  Other media (includes cable TV, radio, magazines, billboards): 24 percent  Other non-media (market research, promotion/publicity, creative services): 21.8 percent  [source: MPAA]

 The theatrical trailer is often the first chance to promote a movie to its target audience.  Starting up to a year before the release of a major studio movie.  It's an art form that's usually handled by special trailer production houses.

 About the same time that the first trailers hit the theaters, the movie studio will unveil an official Web site for the film.  Web sites allow visitors to view multiple versions of the trailer, watch behind-the- scenes interviews and mini-documentaries, read plot synopses, download cell-phone ringtones and desktop wallpaper, play games, chat in forums and even pre-order tickets.

 As the release date of the film draws closer, movie marketers try to get early favorable press coverage in newspapers, magazines and on entertainment TV shows.  At a press junket, journalists, entertainment reporters and movie critics are flown out to a special location for a day or weekend of interviews with the stars and creators of the film.

 The idea is to bombard the public with so many images and promos for the movie that it becomes a "can't miss" event.  Movie marketers will plaster the sides of buses with huge ads, place billboards all around the city, run tons of teaser trailers on TV, place full-page ads in major newspapers and magazines, and the movie's stars will show up on all of the major talk shows.

 Promoters can place rich, interactive ads on the Web sites most trafficked by their target audience.  They release behind-the-scenes clips, bloopers and other viral videos on video- sharing sites like YouTube.  Or they can release different media clips and let the fans create their own trailers.

 Working with corporations to market the upcoming film (i.e. weeks leading up to the release of "How the Grinch Stole Christmas," images of the green Grinch appeared on packages of Oreos, boxes of Froot Loops and cans of Sprite.)  Even the United States Postal Service got into the act, stamping letters with special "Happy Who-lidays!"

 An orchestrated media event where someone does something incredibly silly, dangerous or spectacular to draw further attention to the opening of the movie.  An example is when the promoters of "The Simpsons Movie" transformed dozens of nationwide 7-Eleven convenience stores into replica's of Springfield's own Kwik-E Mart [source: Keegan].

 There's no focus.  Chances are that with every blockbuster movie marketing campaign, millions of dollars are lost on people who would never see the movie, no matter how good it is-untargeted markets!  There's always a chance that the marketing campaign will stink just as bad as the movie.  For example, Oliver Stone's epic "Alexander" cost $155 million to make and $60 million to market domestically and only took in $167 million worldwide [sources: Box Office Mojo and Waxman].

 NICHEBUSTER – Smaller movie marketed heavily to a specific audience segment, say skateboarding fans or religious groups.  USE OF NEW TECHNOLOGIES – Internet marketing, teaser trailers, viral buzz, live events.