Trailer Elements that Generate Buzz

I recently watched a trailer for a new independent film that seemed to be a mini story in its own right. The clips were so well put together and the ending so clear that I was completely satisfied and didn’t need to see the film. That same day I saw another trailer that gave me just enough information to be curious, which drove my need to see more. Curiosity festered within me until I had to see the film.

© Ilyes Laszlo - Fotolia.comTrailers must create that sense of desire and curiosity to draw an audience. By raising a question in the audience’s mind, the filmmaker forces the audience to seek out the answer and purchase a ticket. Unfortunately, filmmakers struggle with knowing what part of the film should be promoted and what part withheld for for the film’s theatrical release.

This delicate balance can be achieved using a few rules:

USE SET PIECES FROM FIRST HALF OF MOVIE – Set pieces are scenes that are designed to have an obvious imposing effect on the audience and many times end up in trailers. They are also the scenes that stand out and say this film is unique and special. When done correctly, the scenes are easily remembered and generate a good deal of marketing buzz.

A strong set piece withstands the test of time. Many remember the light saber battle between Darth and Obi-wan Kenobi. Another iconic set piece was the scene where Indiana Jones runs away from the giant boulder. I’ll never forget the DeLorean racing across the wet mall parking lot and seeing it vanish into a pair of fire trails in Back to the Future.

Set pieces distinguish a film and drive the buzz that skyrockets a title to success. It becomes the story’s leverage to entice audiences to shell out money for tickets. It also tells the press that the film is new and fresh, making it newsworthy and promotable.

USE ACT ONE HERO AND PROBLEM SET UP – The hero has to be likeable or his situation relatable to the audience. By introducing him in a humorous way, or by establishing some form of crisis that people can relate to, will all help build a desire in the audience to find out how the hero will deal with his dilemma.

Establishing the hero’s flaw or problem is also prudent, but only using enough of it to establish the question of how it will be solved. “Why” answers satisfy and “what” answers generate conversation, which leads to ticket sales.

NEVER USE ANYTHING FROM ACT THREE – By act 3, the audience knows exactly where the story is headed, but don’t know how they will arrive at the climax. If something is used from act 3, it’ll be too easy for the audience to determine the film’s outcome before they see the movie. Act 3 elements are sacred and are considered off limits in the promotion of a film.

DON’T USE THE THEME – The theme is typically associated with some form of moral or social lesson. It’s a part of the story that should never be revealed during promotions because once a person understands the lesson there is no longer a need to see the film. Many times the lesson might seem forced unless it’s properly woven into the full story, which a trailer can’t do.

RAISE THE UNIVERSAL QUESTION – Every film raises a question in the audience’s mind that needs to be fulfilled or completed. The trailer also needs to raise the question, but in a way that causes the audience to wonder how the hero is going to accomplish it. This drives the audience’s desire to see the film and find out how the hero succeeds.

The above rules will keep the filmmaker safe from giving out important information that needs to be saved for the film.  It also positions the filmmaker’s mindset to focus on the action he wants the audience to take – purchasing a ticket so he or she can watch the film and  answer the question haunting his or her mind.

 

Copyright © 2013 By CJ Powers

7 Elements of a Great Movie Poster Design

Reprinted blog by permission of Mathew Carpenter @matcarpenter

Big movies are a huge business, as the success of films such as Avatar and The Dark Knight suggests.

Billion-dollar revenue figures aren’t all that uncommon today in cinema, placing many major movies alongside companies such as Facebook when it comes to revenue.

With so much riding on a film’s success, marketing one is a massive opportunity for creative designers.

We’ve looked at some of the most effective film marketing materials out there – the promo posters that have been used on modern releases and older movies – and established some key elements that have contributed to their success.

These aren’t just commercial successes either – everything from smaller cult movies to huge blockbusters benefits from these 7 simple movie poster design elements.

1. Attention – jump out from the wall.

If there’s one simple sales formula that everyone in a performance-based position should know, it’s AIDA. The four-step formula – attention, interest, desire, and action – has been used as the basis of thousands of successful movie advertising campaigns.

The first step, and the one most important for designers, is attention – grabbing the attention of passers-by and encouraging them to look.

This doesn’t have to be achieved with provocative pictures or flashy graphics, although given their advantage at grabbing attention, it’s no wonder Hollywood’s turned to them en masse.

By using the film’s characters or a major plot point, designers can establish some level of plot while still gaining the attention of anyone that views the poster.

Check out The Hangover posters above for a classic example. None are particularly beautiful, nor are they real iconic designs, but they’re very effective at getting people to look.

The flashy gradient background, head-and-shoulders character pictures (which can improve response rate,) and bright lighting make it difficult not to stare at one of these posters.

2. Iconography – showing without telling.

The most effective movie posters are iconic, presenting the themes in the film without resorting to flat out saying what it’s about.

They use imagery, whether a close-up of a character or item that’s a major plot point, or a simple graphic, to establish the film’s plot. Combined with an eye-grabbing design, this can be an incredibly effective way to gain attention and create interest at once.

The Jennifer’s Body poster above is a classic example of this, albeit one that borrows quite heavily from True Blood.

It uses tactics honed in on by advertisers over the decades – sex appeal, contrast, and spacing – to grab your attention.

At the same time, it also gives a glimpse into what the film is about. This allows it to market to casual observers and horror fans at once, all through imagery.

3. Interest – create an incentive to see the film.

When using icons and more abstract imagery doesn’t work with your film – say, for example, it’s a serious drama or a thriller that can’t be explained with iconography – using an image that provides viewers with an idea of the story is a great idea.

Many of the best modern film posters use pictures that put the viewer in the middle of a scene from the film, creating tension and a major incentive.

The incentive is that in order to resolve the situation, the person looking at the poster needs to see the film and find out what happens.

The Inception poster above uses this strategy – it puts viewers in the middle of a scene from the film that can only be explained by seeing what occurs before and after it. As a result, the curiosity created by the poster translates into on-the-spot ticket sales.

This type of design strategy tends to work best with films that cover unrealistic, fantasy-type events, particularly those that deal with the supernatural or psychological.

Since it’s hard to offer insight for this type of story using icons and simple colors, a still from the film can work wonders.

4. Appeal – create desire with fans and non-fans alike.

With film studios cranking out comic book adaptations at a rapid pace, it’s the ‘true fans’ that end up last in the marketing line.

Studios can rely on them to see their new releases regardless of its review coverage or promotional materials, since chances are fairly strong they’re already aware of it. Great film posters, particularly those for adaptations, use this dual appeal to enhance their advertising.

Look at the Inglourious Basterds poster above. It’s made by one of the world’s most celebrated and well-known film directors,yet it barely states his involvement on its promotional poster.

The reason is that Quentin Tarantino fans are probably already aware of the film itself – it’d spend several years in production before finally being released – while newer fans are less interested in its history.

Compare this type of promotional poster to the marketing materials used for films that draw appeal from the involvement of a certain actor.

Since fans’ ties with actors are generally weaker than those with directors or producers, their names usually appear in large print to grab attention. The stronger the audience’s bond, the less important it becomes to highlight features that appeal to current fans.

5. Style – a look that’s consistent with the film.

Whether you’re marketing an art film or a blockbuster, style matters. Some of the most memorable film posters out there have used bold, unique artistic styles to their advantage.

What separates these posters from their ineffective art-for-art’s-sake rivals is that they’re consistent with style, in both the movie’s promotional materials and throughout the film itself.

The poster for Watchmen above is a classic example of this technique succeeding. Since it uses an instantly recognizable comic book style, it grabs the attention of fans of the book.

It’s accurate too, using the same type of stylized imagery as the film itself. This consistency means that it isn’t just a great theater-based marketing tool, but a recognizable image for DVD and other releases.

6. Lasting Appeal – a look that suits other formats.

Here’s the danger in getting too ‘arty’ and delicate with your film poster: it’s eventually, after release and theater shows, going to be shrunk to a fraction of its original size for the DVD release.

While a growing number of films now use different designs for their DVD cover than their in-theater promo posters, most of the classics and high-budget blockbusters still use the same poster for both.

This means that your imagery, your titles, and your major points of interest need to be just as visible on a small DVD case as they are on a giant movie poster.

The Jurassic Park poster above really gets this feature, using imagery that’s just as visible and clear when it’s small as when its gargantuan. For your poster to work for the long-term, it needs to have scalable, clear, and lasting design appeal.

7. Recognizability – if it’s a sequel, make it obvious.

From time to time, the entire box office seems to be made up of sequels.

There’s a good reason for it too – some of the most financially dependable films are sequels to successful franchises.

From films that dominated both the commercial world and the awards scene to purely commercial releases, few films can guarantee studios income like a good sequel.

That’s why sequel posters tend to be highly related to the first release, generally with a giant title in the top third of the canvas and instantly recognizable imagery throughout it.

The Godfather and the two sequels in the franchise are a great example – all three use the same style and design, using the critical and commercial success of the previous films in the franchise to draw in would-be viewers.

7 Steps to Create Buzz for Film

This past week I’ve witnessed filmmakers fail publicly without knowing it. Several have attempted to raise funds without first establishing PR guideline and others have attempted to release their films without priming the PR pump. The one thing these filmmakers have in common is that they were disappointed in their results and had no clue why they failed.

Public RelationsIn this new age of Internet, seven necessary steps have risen above all others that protect a filmmaker from PR failure. Due to the speed of information today, filmmakers are unable to rise above the noise and get their message heard without these seven steps. The mathematics on these steps is straightforward and filmmakers that adhere to them will watch their visibility grow.

Here are the 7 steps needed to succeed:

1. Start with Niche Market: I recently coached a filmmaker to get verbal commitments from donors in advance of raising his funds on Kickstarter in hopes of sparking interest from others on the first day of the campaign. He emailed his friends and family, but didn’t ask for any commitments. The end results were zero funds raised.

Everyone wants national exposure and the best way to get it starts with communicating locally, then regionally, nationally, and finally globally. Independent films use this same standard by releasing in a specific region, gain press and buzz, then move to more screens nationally. These same standards are used to increase PR.

If the product can’t be established “locally”, it can be established in an affinity community or niche market. Once the buzz rises, moving to the regional equivalent is easier due to the existing groundswell of PR in the niche market – It only takes one retweet from the right person to take the message to millions.

2. Timing is Everything: I was excited by a buzz that increased last summer over a drama I wanted to see. By thanksgiving I gave up on the movie, as it still hadn’t released. Ten months have past and it still isn’t out, yet I continually see sporadic promotions about it coming soon. Frankly, I’m so tired of hearing about this film that there is no way it can ever live up to its long hype cycle. The filmmakers will be lucky to get a real audience or even attract distribution at this point.

To achieve that one retweet that puts a message into the hands of millions of people at just the right time, the campaign needs to start 3-6 months ahead of schedule to create the buzz and groundswell. Perfectly timed messages can give a product an increase in sales by 10X or 20X. However, a poorly timed message can undermine everything done to date.

I recall a conversation with Ken Taylor of Tyndale House Publishers. He said that sales of his paraphrased Bible amounted to a couple copies a day, which his son Mark packed and shipped, with supplies and Bibles he kept under his bed. After Amy Grant mentioned how great the Living Bible was at one of her concerts, the daily volume jumped into the thousands and the family moved Bible distribution into a large warehouse. Amy’s simple comment drove Mark Taylor to become the president of one of the largest independent publishers in America. I can only imagine what a single tweet might do from the right person.

3. Plan and Schedule: One rock star shared with me last week the 7-8 “off the cuff” publicity stunts he was a part of that generated significant press for his band and other co-promoted artists. He gave several examples that MTV, the king of impromptu press, took months to prepare.

It takes a lot of work to prepare specific messages to specific audiences and have it come off in an impromptu manner. To accomplish the sizeable buzz that impromptu events create, everything must be reduced to writing and scheduled 6-12 months in advance.

Many filmmakers try to handle all the press themselves, but for it to work properly, the PR person has to develop professional relationships with all of the press sources that reach the artist’s niche and expansion markets. The press needs far more information to publish than they have available, which allows the relationship to help both parties involved.

4. Differentiate the Artist/Product: A filmmaker complained to me last week that his product tanked and he didn’t understand why. I asked him what he had done to brand his product and he said that it wasn’t necessary because it was just like… Then he named a product that I had already seen. So, I asked, “Since I already saw the original product, why would I want to see your version?” He had no answer, which explains why no one wanted to see it.

Media sources do not promote “also” films. They don’t have to because they can promote the “real one”. The only way around this situation is to differentiate your film and promote its uniqueness. The press and the audience need to know what makes your film different. They need to understand why they have to see it.

The majority of all independent films are some form of a knock off, which gains little audience. The few films that take off typically have something so unique about it that people are drawn to see it. That uniqueness must come out in the press for enough coverage to draw a large audience. Without it, the film will fail.

5. Be On Message: I recently watched three clips of a filmmaker being interviewed on TV for his latest release. Since I had previewed the film, I knew his exact three points that would drive the audience to see his film or buy it on video. I was amazed that he didn’t mention any of those three points. During one segment, the host started out excited about the film and quickly lost his energy when the filmmaker rambled about meaningless things. The interviewer had nowhere to go and the audience was convinced not to see the film.

Every film has a message that needs to get out, and every audience needs to hear about the message in a particular way for them to spend money on the film. Developing the message is critical and making sure everyone interviewed is on message is important.

Putting together a guideline of key phrases and context or communication will strengthen the over all message and point the audience in the same direction regardless of the PR opportunity. Deviating from the message will create noise that is indiscernible and will not drive box office or video sales.

6. Tweet and Retweet: Last week a PR expert who handles several big names told me that her number one tool to generate a lot of press is Twitter. She pointed out how all of her press sources follow her and her artists. Each tweet she sends lands on 10MM cell phones within two minutes through retweeting. The last three concerts she promoted sold out within 10 minutes after her tweeted announcement. They didn’t advertise any of those concerts and saved $25MM in advertising.

Most filmmakers are on Twitter, but don’t know how to use the tool. Having a PR person on staff can help develop the message and increase the number of followers. Some filmmakers have just started to follow as many people as they could find that are interested in the genre they produce. However, recent studies show that following more people than follow you will not increase your readership.

Tweeting is all about finding the people who are interested in your product. Following people who might be interested, is very different than finding those who are interested. Once you have 500K people who are true fans, you’ll be able to generate serious sales every time you tweet your latest product.

7. Learn from Madonna: I recently watched an interview with one of the top People magazine reporters. He was talking about how he gets story ideas from Twitter and why he avoids certain stories and takes others. When he summarized his suggestions for getting more press, he said that anyone who wants to get serious about PR should pay attention to Madonna, the queen of PR.

Controversy is one of Madonna’s tools, but it isn’t the most important one. Any time she releases information about a new concert, video or book, she first stimulates the market with things that prompt discussion – She gets everyone talking about her regardless of it being good or bad.

The key to her promotion is making sure that the buzz is always directly related to her product. It is never related to a cause or political view. In fact, the only other artist that perfectly followed suit was Michael Jackson. Both artists generated more buzz and free press than any other in entertainment history.

Cross promotions follow the same key steps above, but require collaboration and lots of planning. Because ancillary products might be involved, it is critical that only the main product is promoted. Once in the store, the audience will find the other products in the display – Whether in a physical store or an online store.

 

Copyright © 2013 by CJ Powers
Photo © Ben Chams – Fotolia.com