Entertainment Marketing - Extract

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2009

SPECIAL REPORTS

ENTERTAINMENT MARKETING


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watched a video on Hulu in July 2009 - more than on

Time Warner Cable, Americas second biggest cable

company. TV is also nally making the leap to mobile,

with UK-based media owner BSkyB now making live-

streaming o Premiership ootball matches a reality on

the iPhone, or 6 per month.

Meanwhile, Stephen Kings most recent book was

broken up into 5,196 pieces and hidden around theinternet or ans to nd and piece together (see p. 43),

and newspapers like the New York Times are adapt-

ed daily or the iPhone or Kindle. The music industry

has been decimated by the rise o illegal download-

ing, with technological players like Apple and more

recently games developers like Harmonix taking the

lead in the monetization o audio content. Anyone or

a round o Beatles Rock Band?

Crucially, the lessons learned by the entertainment

industry are relevant to anyone with even the slight-

est interest in marketing. As with all advertising,

competition or eyeballs is erce, the media landscape

has changed beyond recognition, and co-opting

consumers into the dissemination o messages is held

up as the only valid way in which to court success.

In addition to this, synergies are emerging between

properties in order to guarantee the strength o a

launch. The nal months o 2010 saw the launch o yet

another game-to-movie lm trailer or Prince of Persia:

The Sands of Time. Not only was the lm based on

the hugely successul video game ranchise, the trailer

eatured usion o live action with a aithul representa-

tion o the movement o video game characters, thus

neatly leaping over the Uncanny Valley - the point at

which computer generated graphics start to look too

real and reak us out. And Penguin, poster child or

the role o both design and digital communication

in modern publishing, have teamed with games pro-

ducer Ubisoft to release a novel, Assassins Creed

Renaissance, alongside the much-hyped second in-

stallment o videogame Assassins Creed.

What do these examples show us? That the most

successul entertainment marketing is that which

embraces fuidity, in the content itsel, in the way it

is distributed, and in the way it is promoted. Armed

with a product that people want and a thousand ways

to get it to them, entertainment marketers have start-

ed considering, not television and the internet and

mobile and consoles, but how to make all o these

things work together. Not TV, but ways to deliver

content to that screen in the corner o your living room.

Not a passive cinematic experience, but an immersive

user-controlled narrative with an army o enthusiastic

participants. Not a relationship that stops once the

purchase o a gaming title is over, but ways to create

a community o ans eager to share, modiy and create

within the parameters o the game itsel. And nally,

not a dumb and docile audience, but a partner in thecreation and distribution o engaging content.

For this Contagious Special Report on Entertain-

ment Marketing, weve drawn together the various

landscapes in which these marketers operate. Weve

identied a series o successul case studies in lms,

music, TV shows, games and publishing because we

believe that the principles o successul entertainment

marketing are vital knowledge or any brand owner.

As producers o all persuasions increasingly look to

brands to und and curate their content, the bounda-

ries between Hollywood and Madison Avenue, be-tween Silicon Valley and Akihabara will seem like

mere geography.

pnguin / ain cd rnin

aiviion / cll of Duy: Modn Wf 2


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HBOs True Blood & Gillette, BMW/MINI,

Harley-Davidson, Monster.com and Geico /

To promote the second season o the vampire-

drama, HBO created a campaign eaturing c-

tional products aimed at vampires. The ads or

MINI, or example, carry the tagline Feel thewind in your angs. As well as traditional out-

lets, the ads ran on microsites created at the

shows launch such as www.bloodoy.om,

www.fllowiofun.og and www.mi-

nvmilgu.om. (See also the case study

on page 36.)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

MTVs The Hills & ASOS.com /

This tie-up oered ans o the show the chance

to win a Hills-style night out or a winner and

our riends. ASOS urnished the winners withree outts or their night out. This kind o tie-

up allows people to build a community, creating

content around nights out. For us, this is a really

good brand t which proles really well with The

Hills, says Kerry Taylor, VP marketing, creative

and consumer press, MTV.

www.mv.o.uk/ow/-ill

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ABCs FlashForward & Sprint /

To create buzz around the US network ABC

drama, telecoms company Sprint sponsoredkeywords hidden in the end credits o the rst

13 episodes o the series. Viewers - and Sprint

mobile users - could text the keyword to receive

access to exclusive content as well as string

the words together to create a sentence that

would solve the mystery at the heart o the plot.

://b.go.om/ow/fl-fowd

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AMCs Mad Men & Banana Republic /

The partnership saw the launch o a competi-

tion where participants could win a walk-on

role in an episode o the drama. The cloth-

ing store also created a window campaign

in the run up to the launch o the shows

third season with mannequins dressed in

1960s style to refect the style o the show.

www.mv.om/oiginl/mdmn

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ITVs The X Factor & TalkTalk /

In the UK, broadband provider TalkTalk brought

its sponsorship o hit ITV talent show TheX

Factor to lie with a campaign based around

bright dancing, using light to create grati pat-

terns. The company gave viewers the chanceto get involved by creating their own light gra-

ti bright-dance which could appear on prime-

time TV during The X Factor idents. The X

Factor / TalkTalk microsite gave viewers tutorials

on how to bright dance and submit their clip.

://xfo.lklk.o.uk

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Summit Entertainments Twilight & Volvo /

Volvo extended its partnership with cult movie

series Twilight, in which the central character

EXAMPLES OF ENTERTAINMENT & BRAND PARTNERSHIPS /
http://www.americanvampireleague.com/http://www.americanvampireleague.com/http://www.americanvampireleague.com/http://www.americanvampireleague.com/http://www.americanvampireleague.com/


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sony / sIreN: Nw tnlion /

Sony Computer Entertainment Japan /

SIREN: New Translation /

For the launch o horror PlayStation game SIREN:

New Translation in summer 2008, Hakuhodo cre-

ated an experience blurring the lines o ction and

reality.

The creative was based around the Japanese legendthat the deceased rise in August. The story played

out online, with the ocial website announcing that

a TV crew would be visiting the actual village where

the game takes place. Over the ollowing 13 days, a

video was released each day showing the demise o

the crew.

Phase two o the campaign saw the launch o an

ocial website or the TV production company which

eatured two 24-hour live video streams rom the vil-

lage. At midnight on the night beore the release o

the game a siren rang and the village turned red withlight. From then on a new incident happened every

couple o hours.

30,000 users accessed the site at midnight and

over 1000 comments were received throughout the

day as gamers tried to get to the bottom o the story.

Tatsuro Sato, executive creative director and execu-

tive producer or Hakuhodo DY Media Partners who

worked on the campaign, comments: the uture o

advertising lies in the challenge o adapting to new

orms such as branded utility, branded content, and

so on. Linking the online and ofine worlds is one othe most important areas o those challenges.

He added: Japan has a unique and strong culture,

but it was also a closed society or a long time. Now,

things are changing. As ar as online creativity is con-

cerned, Japanese people love new technology.

www.j.lyion.om/j/il/in_n

Hodder & Stoughton / Stephen King /

Under The Dome /

For the release o Stephen Kings latest epic in No-

vember 2009, UK publisher Hodder & Stoughton

working with Unity London created what it described

as the biggest ever game o literary hide-and-seek.

The 335,114 word novel was broken down into5,196 pieces and scattered across hundreds o web-

sites and locations throughout the UK, including an,

horror, thriller and liestyle websites. Using clues given

on www.stephenking.co.uk, participants were encour-

aged to hunt them down and deliver them back to the

site. As pieces were ound they appeared on the site,

enabling ans to link them together, gradually orming

bigger sections o the book.

Everyone playing the game was entered into a

competition to win a weekend at a London hotel,

where they could read a limited edition copy o thebook on the weekend beore its general release.

Unity co-ounder Gerry Hopkinson commented:

Stephen King is known to be innovative and crea-

tive in the way he publishes and markets his work as

well as through his storytelling, so weve developed

a unique concept that will work across multiple plat-

orms to really bring the launch to lie.

www.nking.o.uk

Sony BMG / Raygun / Freeway Fallguy /

For UK band Rayguns new single Just Because,Sony BMG gave UK digital and advergaming spe-

cialists Kempt ree reign to make a game around the

new video in order to break the single to a massive

audience. The brie was to engage users, increase

awareness and encourage views o the ocial video

in order ultimately to drive sales.

sony BMG / rygun /

sn King / Und Dom /


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ninmn mking / buzz /

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Campfre is a New York agency that specialises in using

storytelling and community engagement to build buzz around

brands and entertainment properties. Two o its co-ounders,

Mike Monello and Gregg Hale, were part o the team whocreated The Blair Witch Project, and together with third co-

ounder Steve Wax they have built Campfre into an award

winning agency, behind such ground-breaking campaigns

as the one or HBO True Blood (see case study, page 36).

Contagious asked Steve Wax and creative director C.C.

Chapman what makes stories buzz.

What would you consider the most important dos and donts

o a successul buzz driven campaign?

The frst thing to remember is that youre dealing with a story and

getting people to play along and become part o it. This is not

about being on brand, so step away rom your brand strategy or

a ew moments and enjoy your new reedom.

Having said that, youre creating a marketing program, so dont

play rustrated screenwriter and simply work on their story; most

likely the show or flm has plenty o writers. And, most critical,

marketing, even movie marketing, is a dierent animal.

Entertainment marketing has to stand on its own; it has to

be much more grabby, even i a campaign plays out over three

months. Your audience is not sitting in a movie theatre or in ront

o their TV ater a long days work. They are probably at work grab-

bing a couple minutes to sur the net, or hurrying by your live stunton their way to lunch.

The key or us is coming up with an instigating event, one that

will draw attention even rom the most casual observers o the

campaign. A good campaign makes people wonder whats going

on here? and start the quest to fnd out more.

As with any good story, its important to know the audience you

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hBO / tu Blood /


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creDIts

Produced by Contagious Communications

Contagious Editorial Director

Paul Kemp-RobertsonSeries Editor

Georgia Malden

Written by

Suzy Bashord

Edited by

Jess Greenwood, Georgia Malden

Additional research by

Lucy Aitken, Greg Copeland, Katrina Dodd,

Emily Hare, Stacey Jacobs, Robin Leeburn,

Will SansomContributors

Jonathan Block-Verk, Promax/BDA /

www.promaxbda.org

C.C. Chapman & Steve Wax, Campre /

www.camprenyc.com

Harriet Owen, HyperlaunchDMG /

www.hyperlaunchdmg.com

Cover image

Call o Duty: Modern Warare 2, Activision /

www.calloduty.com

Illustrations by

Chellie Carroll / www.chelliecarroll.co.uk

Loulou & Tummie / www.loulouandtummie.com

Design

FLOK Berlin / www.fokline.com

Production

Smita Mistry, Ellie Kilburn, Dean Dorat

Contagious Communications

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T: +44 (0) 20 7575 1981www.contagiousmagazine.com

Published in partnership with

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Xtreme Inormation is the market leader in the

provision o media Intelligence and competitive

advertising monitoring rom around the world.

Xtreme works with the majority o FTSE 100

and Fortune 500 multinational companies, andwith every major advertising and media agency.

The company is backed by leading US media

investors, Veronis Suhler Stevenson.

www.vss.com

No parts o this publication may be reproduced, copiedor transmitted in any orm or by any means stored in anyinormation storage or retrieval system without the pub-lishers written permission. Where source material has

been reproduced the copy-right remains the property o thecopyright owner and material may not be reproduced in anyorm whatsoever without the owners prior consent.

Published December 2009

CONTAGIOUS SPECIALREPORTS /

This report is part o a series o Special Reports

produced by Contagious.

The series also includes reports on Mobile Apps,

Branded Entertainment, Goodvertising and

Branded Utility.

For more inormation,

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Entertainment Marketing - Extract