A Film for Every Generation

Film is but a medium for storytelling and storytelling is a universal language that spans generations and cultures. From classics that are loved by all to new films that spawn avid followings there is always going to be something for everyone.

With massive franchises such as Star Wars that reach across generational boundaries, there is no shortage of a targetable market for studios when it comes to blockbusters such as these. In the case of Star Wars, its first instalment was released in 1977 and its most recent release being last year (2018). That’s 42 years, 11 theatrically released films, cartoon and animated series’, toys, collectables, comic books, novels and conventions all inspired from one film. And all of these things rang from collectables, costing thousands of pounds, targeted towards the working professional and blind bag toys marketed towards children. Its rare to see one brand become so diverse but Star Wars isn’t the only one to do it. Recently Marvel superheroes have been dominating the box office since 2008 and with the backing of Disney and there seemingly endless mounds of cash, Marvel have made a whopping 22 films in the last 11 years. The advantage to these franchises is how they are accessible to any and all generations. With Star Wars being influenced by a long history of science fiction and Marvel having the backdrop of 80 years of comics and character development to draw from. These story help to bridge differences between the generations by creating a common interest, but they also stand as a time capsule for the year they were made in. 1977’s Star Wars: A New Hope was ground breaking in its use of practical and visual and even launched the effects studio Industrial Light and Magic, which now produced some of the special effects for Marvel’s Avengers: Endgame. The advancement of technology has allowed for even more crazy things to come to life such as a massive alien army fighting an army of Asgardians, Mages and Wakandan Warriors.

Marketing Made to Manage Spoilers

In a post Avengers: Endgame world, social media can be a minefield for spoilers. However, as the saying goes; the show must go on and it does. Marketing for the new Spider-Man film, the next instalment to the Marvel franchise, is well underway so the question is how can you market a film that contains spoilers for the last film, or is it even an issue and people should just know this already? The interesting thing about this case is how Disney don’t have complete control over the Spider-Man character rights, those belong to the production company Sony. This is the reason a first trailer was released after Avengers: Infinity War when Spider-Man was among the casualties of the snap. So, if it were up to Disney we would not have seen any footage up until now. Being that this second trailer was released so close after Avengers: Endgame the marketing team at Sony made sure to put a spoiler warning at the beginning.

The interesting thing here is how pop culture influences an organisations marketing, because spoilers and fandoms have become an element of consumer behaviour organisations need to be able to navigate through them not as a corporation but almost like individuals. For instance, the spoiler warning before the new Spider-Man trailer was delivered by the star of the film, it just adds a personal touch that fans can appreciate.

There is always a divide between TV and film, in this case the social media campaign to #dontspoiltheendgame was launched and endorsed by influencers and the common people alike. However, when it comes to the equally popular Game of Thrones GIF’s from the episodes climax were immediately spread across the social waves. When it comes to TV, there is a community aspect that can be uniquely enjoyed in that everyone, even across time zones, is watching the same thing as you at the exact same time, so how much of the responsibility to avoid spoilers fall to those that didn’t watch live or is there a solution the marketing team can create to provide one online location for all those watching the show live?

Behind the Curtain – Cancel Culture

Here I’m Joined by Louis Mckenna form One Note Blog. We discussed the topic of cancel culture and how it differs across film and music.

Superhero hair halts spoiler scare

Marvel has another global hit on their hands with the upcoming Avengers: Endgame, with a new trailer released yesterday there is nothing but excitement invading social media. Kevin Fiege, the grand-master of Marvel Studios, is often revered for his public relations superpower of speaking in half promises. Somehow managing to generate consumer interest in possible upcoming films, while not at all confirming any definite commitments. Back in January he was quoted saying “I’d call it somewhat accurate. As was the case with a lot of our films this one in particular, you know, being able to generate excitement without giving away any of the many, many, many, many, many,many, many, many secrets would be ideal.” Here he provides insight into the assumption that all marketing for the upcoming Avengers: Endgame will be sourced from the first 15 minutes of the film.

Marketing for films have for a long time used a simple algorithm of showing what you’ll get. In some cases, this has left large twists being spoiled through the marketing, one example being Terminator Genisys, which was not a failure but did not reincarnate the franchise like the executives hoped.

Whether Avengers: Endgame only utilises the first 15 minuets of the film in its marketing or not, the interest of fans will often follow an unexpected tangent, this being the unexpected reveal of Jeremy Renner’s new hair cut for the film. A lack of narrative substance in a film’s marketing usually causes a serge of negative sentiment, but Marvel seen to have the answer in just letting the show be stolen by an awesome mohawk (and the cool new matching Avengers uniforms).

Update – As of recently, the Russo Brothers (Directors of Avengers: Endgame) have confirmed suspicions that the newest Endgame trailer has shots that will not be included in the film. This isn’t the first time they’ve done this either, with the Captain America: Civil War Trailer removing Spider-Man from scenes and the Avengers: Infinity War trailer adding the Hulk in scenes where he would actually appear in his Bruce Banner persona. This marketing strategy puts the film directors in control of promotion material allowing them to promote the tone of the film and not spoil any of the twists.

Rotten Tomatoes reviews its previews to pre-empt predominant provocation

Rotten Tomatoes a leading critical and audience review site has had to adapt their systems for pre-reviewing films, in the wake of seemingly targeted trolling towards Marvels latest blockbuster, Captain Marvel.

Marvels first female led MCU blockbuster hit cinema screen on the 8^th of March. Even before it even had a chance to compel opposing conspirators to change their minds, it was bombarded with negative audience scores, loaded with an anti-feminist agender. Therefore, Rotten Tomatoes have removed the ability to rate and review before the film can be appreciated which makes sense. This tactical move also attempts to combat the distribution of fabricated news, that in the case of Captain Marvel lead ill-informed media outlets to outcry about the lacklustre buzz around the film.

However, the issue with film reviews still stand; add too much nuance and the attention fades, create a polarising headline and rake in the viewers. Which leads to another drastic change made by Rotten Tomatoes. They have simplified their systems to only include the percentage of reviews with positive sentiment against those with negative sentiment. As oppose to having a reviewing system that allows for the critic or audience member to creatively expressing their opinion. Other rating websites seem to be operating along the same lines by keeping it simple, which gives the opportunity for people to create and use their own platforms to express their opinions. The issue with this then becomes an overwhelming number of word of mouth opinions falling unnoticed and a general lack of order.

The detail in critical reviews of film is becoming less and less thoughtful and is propelled in to the divisional society social media has created. Where there is no option but to fight for your life in a battle between people who liked the film and those who did not. A fight where reason has no place. A fight where acceptance in non-existent. Only the demoralising ability to insult each other, not even wins the argument but keeps it alive until the next political issue divides us even further.

3 Ways Deadpool Changed Digital Film Marketing

Deadpool as a character has a history of disruption, combined with Ryan Reynolds quick wittedness, the unique marketing campaign practically generates itself.

Starting with the controversial leaking of test footage, which gained the fan base momentum that convinced the studio 20^th Century Fox to support the film, who otherwise would not have seen the value in the project. The campaign for Deadpool’s rise to stardom is riddled with the bullets of an unconventional marketing gun.

Traditional film marketing took place solely in the insulated rooms of the studios marketing teams, who chop-shopped films scenes to create a spangled display of a film’s biggest stars and fastest action. Here enters Deadpool to slice and dice the bureaucracy of studios, foul-mouthing as he does it. Ryan Reynolds’ direct influencer involvement allows the narrative and characteristics of the film to become present to the viewer along with social media, fans can interact with the character of the film, creating a digital gateway to the landscape of one of Marvel’s many universes. Its this call to action that ignites the burning flames of major fandom that far exceeds the limitations of brand advocacy.
With the engulfing success of the first film, 20^th Century Fox stepped up their game with Deadpool 2’s takeover of the studio. With the film being Fox’s largest box office hit, grossing over $100,000,000 more than their next hit, last year. The campaign carried steam after the film was released and into the DVD/Blu-ray, traditional conceded the final nail in the coffin for a film. However, Deadpool gleefully buried itself in a montage of self-loving, 4^th wall breaking, indulgence by going viral with the creation of “deadpoolised” box covers for other 20^th Century Fox films. Not only does this promote Deadpool but applies a healing factor to the other 20^th Century Fox’s I. P’s.
The camping’s bases of brining an onslaught of influencers, with hidden cameos from Brad Pitt and Matt Damon bring a nod to the hall of fame. A combination of this tactic and repeatedly beating the dead horse of topical pop culture references has led to the amalgamation that is the limited theatre run of the PG Christmas version. Aiming the franchise at a younger market may seem obvious, however with the main drive coming from Fred Savage, star of the 80’s cult classic The Princess Bride. The scopes are set for a similar audience as the bloody, violent and rude grown up version but with the added bones of begin able to legally bring a kiddywink into the theatre.

The Deadpool franchise has propelled digital and viral film marketing to a new level but has it all been for nought. With Disney buying 20^th Century Fox and all their properties including the rooting, shooting, merc with a mouth. Will they demolish what Deadpool has built and refurbish with a fresh coat of Disney’s shiny and clean branded paint. In my opinion, probably not because they are smarter than that and least we forget that Disney owned Mirror Max during the creation of Pulp Fiction.