1. Things to Consider Reviews
To a certain extent distributors can control criticisms and reviews using EPKs and junkets. However, despite criticism, films still have the capability to earn money.
Pearl Harbour, Planet of the Apes and Lara Croft: Tomb Raider were all heavily criticised and were considered to be ‘flops’ but they did make a considerable amount of money at the box office.
It is documented that some major studios stage false interviews and reviews in order to maintain their audiences.

2. CASE STUDY
Donnie Darko (2001)

3. Donnie Darko
This film was a successful attempt by a small, enterprising, independent UK distributor to market a US ‘indie, art- house’ film to British audiences.
The company was Metrodome, a company that usually plays to niche audiences.
Only one of the films they distribute per year is likely to be a hit.

4. Donnie Darko
The film was first screened at the Sundance festival but was a disappointment to ‘indie’ audiences because of its sci-fi esque special effects and its inclusion of Patrick Swayze in the cast. Audiences expected it to be a more alternative experience, outside of the Hollywood format.
US distributor then targetted the mainstream, teenage horror, multiplex audience and the film was set for exhibition on Halloween This also flopped because audiences were expecting a slasher movie.

5. Donnie Darko
The ‘word of mouth’ on the film was mainly negative and it was released only one month after Sept 11th. This was badly timed as one of the main sequences of the film involves a plane crash.
Price for UK distribution rights fell from £1 million to £100,000. Metrodome bought it, recognising that the film had bee mishandled in the US.

6. UK Distribution
Press support was vital as Metrodome did not have the cash for an expensive marketing campaign.
The film was screened to various industry audiences and received favourable comments from broadsheets and the radio. These reached the intended audience.
This encouraged Metrodome to expand their budget to arrange for repeat screenings for film magazines.

7. UK Distribution “the best film of the year.” Radio 1
“Genius…film of the year.” Total Film
“Restores faith in the US indie scene.” Uncut
Metrodome positioned the film
as a “twisted, clever,
genre-defying, late-night,
cult, up-market,
review-led movie.”

8. UK Distribution
The distributor spent £80,000 on advertising the film compared to the £2,200,000 spent on My Big Fat Greek Wedding.
Metrodome recognised the potential in the film to be a cross-over movie. It would be able to be screened to multiplex audiences as well as art- house audiences. In order to appeal to both it needed a national advertising campaign.

9. Campaigns London Underground
£15,000 was spent on this campaign which ran for a month. The poster for this included press endorsements and quotes from film magazines, together with a venue strip of where the film would be playing.
It also contained a quote from the BBFC which warned that the film contained ‘strong language and psychological horror’. This worked in the film’s favour as it attracted the desired audience and suggested that the film was not mainstream.

10. Campaigns
Main Poster
These changed the image from ‘scary cinema’ to ‘odd, surreal cinema’. There was also a quotation from Jonathon Ross which stated that the film was not too art-house.
Guerilla Marketing
This is illegal but does happen. It involves street level advertising using graffiti, fly posters and leaflets. This is cheap as well as effective.

11. Publicity
Due to a limited budget cast support was vital for publicity.
A PR company was helped to position the cast and director for the Press. Patrick Swayze, one of the guest stars, was too busy as was Drew Barrymore who, despite being a producer for the film, was too involved in Charlie’s Angels commitments. However, Jake Gyllenhaal, the male lead, was in London at the time and was able to give interviews.
The director, Richard Kelly, was flown over from the US for mini-junkets and the 1980s themed premiere went well despite no stars being present.

12. UK Exhibition Opening Screen average
It opened on 30 screens across the UK on Halloween 2002, a full year after its US debut. Most blockbusters have 400 screens, art-house films are given four or five.
Screen average
This is the average no. of tickets sold per screen. The screen average for Donnie Darko was excellent and second only to XXX. Metrodome resisted the impulse to open the film to more screens.

13. UK Exhibition Video and DVD sales
The film took £1.6 million at the UK box office, 3 times what was expected. The video/DVD went on sale in May 2003.
The special features available were stressed in new ads in Total Film, Hotdog and Uncut to target fans.
There was also a promotional tie-in with HMV offering a limited edition sleeve and art cards.
Metrodome, at this stage, could take 85% of profits.

14. UK Exhibition Television Rights
Metrodome sold the TV rights to the BBC for £250,000. Metrodome received 50% of this.
The total amount of revenue for the film was just under $2 million. This offset the other 11 films that were distributed by the company that year that had flopped.