Challenges of Online Film Marketing

The resources are available, as is the enthusiasm and excitement. Yet, why does effectively promoting a film online remain such a challenge?

This year marks a shift, as the internet joins traditional marketing methods like television advertisements, merchandise, and print promotions in a more integrated approach, especially for holiday films. Since the groundbreaking success of “The Blair Witch Project” in 1999, every film has included at least a basic online presence.

However, replicating that online success has proven elusive for others.

The potential benefits are significant. Engaging audiences directly allows studios, both big and small, to cultivate a dedicated fan base that extends beyond conventional marketing avenues. Interactive movie websites can make fans feel like they are part of the entire filmmaking journey rather than mere spectators.

But does this strategy guarantee success?

While tracking the effectiveness of online promotions can be challenging, there’s no doubt that a well-executed online campaign can enhance a film’s visibility far beyond what traditional media could achieve.

Nevertheless, there are numerous pitfalls to consider. Excessive promotion can lead to fatigue, poor time management within the studio, website upkeep issues, and negative sentiments stemming from subpar online experiences—all of which could deter potential ticket buyers.

For every success story like “The Blair Witch Project,” there are also uninspiring websites that fail to elevate a film’s allure, such as DreamWorks’ “The Legend of Bagger Vance” or MGM’s “Original Sin.” The landscape of online film marketing can be categorized into two levels. The basic tier provides users with a cast list and a downloadable trailer, while the more ambitious sites strive to impress visitors with innovative and unique content, often inspired by the successful strategies used for “The Blair Witch Project.”

Dwight Caines, the vice president of internet marketing strategy at Sony Pictures Entertainment, emphasizes, “Our goal in online movie marketing is to create an experience for moviegoers. The web offers fascinating immersive opportunities. When a website stands out, viewers are more inclined to think, ‘This movie must be exciting too.’”A prime illustration of the extensive commitment to digital marketing can be seen through the efforts invested in the website for Universal's adaptation of "Dr. Seuss' How the Grinch Stole Christmas."

Initiatives for the site were launched nearly a year prior to the film's anticipated release over the Thanksgiving weekend, aiming to transform meanone.com into a lasting hub for Grinch-related content.

Marc Shmugar, Universal's marketing president, noted, "The Grinch represents the peak of our accumulated knowledge. It opens up countless exciting avenues that have previously been unavailable to film marketers. This remarkable distribution channel, unlike our past strategies that relied on magazine placements or commercial spots, allows for a more interactive and effective communication method."

The website boasts a rich array of features. Users will find a Grinch toolbox filled with banners and buttons, a lively Grinch that dances across screens, themed browser content, wallpapers, and screensavers. Additionally, there are contests offering a chance to win a family trip to Seuss Landing at Universal Studios Orlando. Visitors can also engage with a whimsical name generator that assigns them their unique "Who" name, like Shmugar's own playful title, “Merry Marc Sassy-Snew-Who.”

Moreover, the site includes the essential Who-ville section for trailers and a dedicated e-commerce area for exclusive Grinch merchandise.

Despite these engaging elements, there are significant challenges.

Converting website visitors into paying customers remains uncertain, as tracking this information is not feasible, nor is it possible to measure audience interest levels effectively.

When fans access the "Grinch" website, they must register, which allows them to receive updates about other Universal projects, including sales and new releases. However, many perceive these communications as unwanted spam.

Enduring Connections

While this innovative approach aims to entertain, Shmugar emphasizes that the advantages extend beyond just fostering customer loyalty for the studios.“Our previous connection with moviegoers was akin to a fleeting encounter,” he remarked. “They visited the cinema, enjoyed the film, and we had no insight into their return. Now, we have the ability to forge lasting relationships. For a company like Universal, this opens up a plethora of monetization opportunities across our entertainment range. The possibilities are endless, with various strategies and tactics in play, which is why I’m genuinely excited to immerse myself in this new landscape.”

From these insights, one can almost sense the prevailing thought among tech-savvy studio leaders: prioritize enjoyment.

“As consumers, they anticipate intricate online campaigns,” Caines noted, a vision he is eager to implement for several films spanning different genres this festive season, such as “Urban Legends,” “Charlie’s Angels,” “The 6th Day,” and “Vertical Limit.”

Among these, “The 6th Day,” featuring Arnold Schwarzenegger and tackling the moral dilemmas of cloning, stands out as the most ambitious project. To address this controversial topic, Sony has launched two websites — one offering standard movie information at www.spe.sony.com/movies/the6thday, and another, repet.com, delving deeper into the fictional corporation central to the plot.

“The film resonates on multiple levels,” Caines explained. “Firstly, it explores cloning ethics — do you truly understand your identity? We are presenting two distinct pathways for audiences to engage with the film. The first is a comprehensive behind-the-scenes look at the filmmaking process, including interviews with the cast and crew, along with footage captured by actors during filming.”

“The second aspect of the site immerses users in the film’s universe, focusing on replacement technologies. You’ll encounter a fabricated corporate website detailing the cloning of fish and organs, while highlighting that human cloning remains prohibited. As you navigate through the site, there's a deeper narrative waiting to be uncovered, creating an intriguing dual-layered experience.”

Additionally, some websites aim to capture the enigmatic allure of the “Blair Witch” phenomenon, adopting a similar aesthetic and communal vibe. Among the holiday movie promotions, the site for Disney’s “Unbreakable” comes closest to achieving this immersive atmosphere.

Innovative Movie Marketing Strategies

At areyouunbreakable.com, fans of the Bruce Willis and Samuel Jackson film can dive into an immersive online experience reminiscent of the eerie charm that captivated audiences during the “Blair Witch” phenomenon.

The website entices visitors with a dynamic introduction featuring a series of catastrophic events, followed by shocking newspaper headlines that highlight the lone survivor of these tragedies.

As users navigate through, they can participate in intriguing assessments designed to determine whether they possess the qualities of being “unbreakable,” accompanied by a tongue-in-cheek medical disclaimer suggesting they consult professionals for an accurate evaluation.

However, the atmospheric allure of the site is marred by constant reminders of its Disney backing, with the presence of go.com search features scattered throughout, detracting from the intended suspenseful vibe.

Lens Crafters

While many online marketing strategies stem from studio trials, filmmakers are increasingly taking charge in this arena.

According to Caines, “Filmmakers are some of the most passionate advocates for web initiatives. We receive numerous requests from them wanting their sites live immediately, with cameras documenting their creative process daily. It's invigorating to see this level of engagement with digital marketing.”

Creating a compelling online presence requires meticulous planning and an in-depth understanding of digital platforms, especially when movie production faces its own challenges.

Take “The Claim,” an MGM film with a website that was crafted months in advance, despite the film's title remaining under wraps until late August.

“Ian Buchan, producer at Resolve Media, shared that the concept originated from director Michael Winterbottom. Inspired by the “Blair Witch” site, he recognized the internet's potential to transcend traditional movie marketing, which often resembles mere online brochures.”

The site chronicles the film's production timeline, featuring insights from the often-overlooked crew who contributed significantly to the project.

Buchan emphasized, “A film generates vast amounts of information, and there’s a thirst for knowledge about the filmmaking process. It was producer Andrew Eaton who emphasized the importance of the website to the cast and crew, encouraging them to collaborate with us. We gained unprecedented access to every facet of the film.”Holiday films often tackle serious themes that may not resonate well with a light-hearted audience. For example, it’s unlikely that viewers would share e-cards promoting “13 Days,” a New Line release centered on the Cuban Missile Crisis.

After experiencing the film, Gordon Paddison, who heads online marketing at New Line, recognized the importance of establishing a platform for discussion. He envisioned a forum where audiences could reflect on their experiences during the pivotal moments of 1962. This interactive space can be found at www.thirteen-days.com.

“It was a moment in history when everyone was on edge,” Paddison remarked. “But how do we communicate that to a younger audience? We have a tank commander who was stationed on the Czech border in '62 sharing insights from the perspective of troops in a potential conflict zone.”

Collaborative Efforts

Interestingly, not all digital initiatives stem from within the studio environment. An increasing number of production companies are partnering with external online entities to enhance their promotional strategies.

For instance, Universal Pictures is collaborating with the music platform tonos.com to invite internet users to create lyrics for a song that might feature in “The Grinch.”

The Culver City-based company will merge user-generated lyrics with original compositions by David Foster and Steve Kipner, the Grammy-winning duo known for crafting hits like Christina Aguilera’s “Genie in a Bottle.”

Bonnie Greenberg, the music supervisor for “The Grinch,” articulated her belief in the power of opportunity. “I’ve always maintained that success relies on talent meeting opportunity. It’s not enough to be brilliant; without a chance, that brilliance remains hidden,” she explained. “If Ron (Howard) and I can collaborate with tonos to provide someone with a once-in-a-lifetime opportunity, we consider that a fulfilling endeavor.”

Innovative Film Marketing Strategies

New Line Cinema is initiating an innovative marketing strategy for the upcoming film "Little Nicky," featuring Adam Sandler.

In collaboration with GarageBand.com and AtomFilms.com, the studio invites bands to submit songs for potential inclusion in the movie.

The selection process involves an initial round where online users at GarageBand.com vote for 10 semifinalists.

From this group, director Steve Brill will choose the ultimate winner.

Filmmakers will then create a music video to accompany the chosen song, which will be showcased on both AtomFilms' platform and the official movie website, www.littlenicky.com.

Jason Linn, Senior Vice President of Music Development at New Line, emphasized the significance of this approach, stating, "For A&R, this is the future."

He highlighted that their soundtracks division continuously seeks fresh talent, and partnering with a grassroots online platform like GarageBand provides access to a vibrant community of emerging musicians eager for their breakthrough.

Meanwhile, DreamWorks is launching a website for "Bagger Vance" in partnership with the e-commerce giant Amazon.com.

The site, accessible at www.amazon.com/baggervance, will serve as a crucial link for future soundtrack, DVD, and video sales, in addition to hosting auctions for movie merchandise.

DreamWorks previously collaborated with Amazon for successful projects like "Galaxy Quest" and "American Beauty."

However, securing studio investment for developing websites hasn't always been straightforward.

While an outdated site may not doom a film, a well-executed online presence can significantly enhance revenue.

A notable example is this year's "Final Destination," which, despite mixed reviews, benefited from the buzz generated by its engaging official site, deathiscoming.com.

The site’s catchy yet quirky design attracted attention that traditional advertising might not have achieved.

Audrey Marco, Vice President and General Manager of Sony Pictures Digital Entertainment Agency, noted the ongoing shift in mindset among studio executives, stating, "It's definitely been an evangelizing process that’s now being embraced."

Sony's digital initiatives began in 1995 with sites for films such as "Johnny Mnemonic," "First Knight," and "The Net," where Sandra Bullock humorously mispronounced "modem" as "mod-um."In today's film industry, having an online presence is essential for promotion.

Companies are increasingly focusing on marketing their films through wireless platforms.

Currently, spending on online marketing varies widely, often constituting anywhere from zero to five percent of the overall budget.

However, this trend is on the rise, as exemplified by Warner Bros. planning to invest around $3 million on a dedicated website for its “Harry Potter” movie.

Promoting this online presence is cost-effective; a simple URL at the end of trailers, reciprocal links on fan websites, or utilizing tech-savvy individuals to generate buzz on forums are popular strategies, with Sony excelling in this approach.

Moreover, the time allocated to digital marketing efforts within studios is increasing significantly.

As Shmugar noted, when he first joined the team two and a half years ago, online marketing occupied roughly five percent of his time.

Now, that figure has ballooned to between twenty and fifty percent, reflecting the growing importance of strategic and economical online initiatives.

While financial considerations are important, they are not the sole focus.

Mismanaged priorities and challenges associated with new media can overwhelm marketing teams.

With executives spreading their efforts across multiple platforms, there is potential for negative impacts on the final product's perception.

Looking to the future, Shmugar is optimistic about the long-term potential of the film's website, anticipating that it can evolve as the movie transitions to DVD, television, and international markets.

"If we were to shut down the site now and later attempt to relaunch it, we would be making a significant mistake," Shmugar warned.

"This has been our most ambitious project yet... and trust me, the best is yet to come."

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