Monday, 21 March 2011

The Disappearance of Alice Creed

The Disappearance of Alice Creed

Making the user a Marketeer  

Working with digital agency Brandmovers, CinemaNX developed an application to be housed in Facebook, with communication tools that would allow it to be shared on Twitter and other social networking sites. Fans were able to sign up on Facebook, despite the activity being over, the users were still able to interact with it.

CinemaNX created a dynamic incentive for user activity through a suite of tools, which participants could use to generate support for their cinema, and earn themselves activity points. These tools, intended to facilitate a viral effect, were a combination of Facebook standard communicators, and on-brand messages relating to movie items or activities.

Facebook:

Users selected Facebook friends and sent invitations to install the application. These were represented as calls to action to support the user’s selected local cinema, but also allowed an option for recipients to select or nominate their own cinema. Each invited friend that installed the application and supported the original user’s cinema earned the user 100 activity points. Each referred installation which supported another cinema earned 20 activity points, and each invitation sent but not completed earned 2 activity points.
Users used the Facebook ‘share’ function to publish a call to action to their newsfeed, which would proclaim their support and encourage their friends to join the campaign.

How the campaign was marketed? (Offline)

After initial competition between several cinema groups, a university film society in Southampton – Union Films – fully embraced the prospect of hosting the premiere, advertising to all their members, asking them to vote for their cinema on their university campus via posters, home page exposure on their website and through a newsletter.
It was this interest in the increasing regional presence for the film that gained the film further coverage in regional and Scottish/Irish publications such as Venue, Leeds Guide, The List, Irish Times, Evening Herald – many of which detailed the underground approach of taking the premiere out of London.

CinemaNX worked with Findanyfilm.com to create an MPU (a standard form of mid-page advertising unit measuring 300 × 250 pixels), encouraging users to click through and vote for their local cinema.
Offline Press: Local and national coverage included ITN, The Observer, The Sun, Daily Mail, Metro, Life, Cineuropa, Female First, This Is Hampshire, Daily Echo.

Alice Creed was one of the most covered premieres that week due to the uniqueness of the location and the approach credible the premiere was.

Union Films fully embraced the prospect of hosting the event: organising all ticket redemption and, with CinemaNX, coordinating all marketing materials including the creation of banners, hiring of a red carpet and associated security staff, laying on a champagne reception and hiring a photographer.

Sunday, 13 March 2011

UK Film Council

UK Film Council

  • Film London are one of the UK Film Council's funding partners, this partnership works by the private partners will invest in the national inward investment function to ensure the UK, its facilities and talent are promoted successfully all over the world. In addition, Film London will employ the knowledge and expertise of an advisory board, which will be drawn from industry partners and stakeholders from the regions and nations. 
  • The Government has pledged to support film across the English regions. The responsibility will fall to the BFI to develop a new strategy for film with regional partners including Creative England. Lottery and Grant-in-aid funding to the English regions will be provided via the BFI.
  • The Film Fund and the Prints and Advertising Fund will continue to accept and assess decisions about funding. Any changes to any of the processes for the funds will be communicated to the industry and published on both the BFI and UK Film Council websites.
  •  It is assumed that UK Film Council employees working in areas not being transferred to the BFI or Film London will be made redundant.
  • The functions that are transferring to Film London are the UK Film Council’s role in encouraging inward investment into the UK in a public/private partnership with Warner Bros., Pinewood Studios Group, the Production Guild, UK Screen Association and other companies.

Monday, 7 March 2011

The Kings Speech

  • Distributor = Momentum Pictures
  • Two years ago, Slumdog Millionaire was a huge hit with the Film Industry (opening grose of £1.83 million)
  • The top six sites were all in London, led by Odeon Leicester Square (£106,000), Vue Westfield (£51,000) and Vue Islington (£45,000). Top regional site was Odeon Guildford, with £28,000 - suburban place, not very likely to make many box office hits, however the demographic audience could live in this location.
  • UK FILM COUNCIL HAS BEEN AXED
  • As from next year, the Government is not going to fund the UK Film Council
  • However, BBC Films and Film4 didn't want to back The Kings Speech, UK Film Council backed it - would not have been made if the Film Council was not present
  • How to get a film to be successful? Strong critical support, bold positioning by distributor, deciding on release date and marathon publicity efforts.
  • Slumdog grosses rose on its second and third weekend, contributing to a £32m cumulative total in Britain.
  • This column has often had cause to quote the "10% rule", which suggests that the UK gross of a film in sterling will usually be around a 10th of the US figure in dollars.
  • Kings Speech funded by six different independent bodies


Five Facts:
  • The production costs –  £9m
  • The film has already grossed $236m worldwide 
  • Its nominations at the Oscars are expected to take that total to over $300m; the industry usually expects worldwide DVD and TV sales to match the box office total again.
  • Much of that cash is shared with the cinemas and international distributors, such as the highly visible Bob and Harvey Weinstein in the United States. But a substantial proportion – $100m to $150m – is expected to make its way back to the UK.
  • The soon to be disbanded UK Film Council provided £1m of lottery money for the film's production budget, while the Aegis Film Fund – whose cash comes from wealthy private individuals

Issues in the British Film Industry

Issues in the British Film Industry