Social marketing of The Great Gatsby and Gravity in the UK

I completed these two presentations recently as part of bidding for a contract with a major film studio. Throughout I’ve deliberately used the social ROI insights learned at Sony EU to show how to better make social activity contribute to maximising ticket sales. I have therefore chosen to highlight in both slides, the importance of raising ‘intent to view’ and to reduce purchase neutrality post-opening. This is based on insights from US-based Crimson Hexagon, who I got in contact with after I seeing their presentation from Wayne St. Amand, VP of Global Marketing at Internet World 2013. After his presentation I asked him a question, for an example where their product had made a difference. I was happy to apply the Crimson Hexagon insights to analysing the performance of The Great Gatsby.

On a tactical note please note the use of font ‘Futura’ in the Gravity slides, as it’s the font used in the poster for the film, and similar film promotional material. You can download a free version of Futura called ‘Futura Extended’ here if you’re interested. Also note that unknown to me Pinterest has now added functionality to pin from movie sites like Rotten Tomatoes. And Facebook has added timeline functionality recently too, to add your movie preferences. I also like the fact that you can now get 6 second video app Vine for Android, which backs up my favourite creative around encouraging short instant film reviews in the cinema lobby, which ties in with the fact that most social activity (72% by all accounts says Katie Leimkuehler) comes after watching a film.

(If you wish to view my invitation to create a MVP mobile app on peopleperhour please see the details here.)

Thinslicing The Hunger Games

Plenty has been written about the significant role played by a carefully organised and orchestrated social campaign for The Hunger Games. So I’ll simply jump to my ‘thinslice,’ namely how the movie marketers used fan response to tweak as they went along. First of all though consider that this process is much like gaming company wooga carefully monitors user response to tweak aspects of its online games to help boost engagement and thus ROI.

Secondly, to get back to The Hunger Games, and to illustrate what this means – the value of feedback from fans – to be able to optimise your campaign here’s a key quote from Lionsgate’s senior vice president for digital marketing Danielle DePalma:

“What seemed to work the best, too, was fan-created content. I mean, the Peeta memes were always the top performers. That’s how we were really learning about what our audience liked most, through those Facebook results.” This character-focused social media strategy is also backed up by Crimson Hexagon’s analysis of the factors impacting on the success of Julian Fellowes, creator of the popular period drama ‘Downton Abbey’, with the US version, ‘The Gilded Age’ soon to be launched:

“Our analysis indicates that in order for Fellowes to recreate “Downton Abbey” with “The Gilded Age,” he must develop compelling, witty characters with strong moral convictions.”

In other words (ref: my previous post on the value of thinslicing), joining together how your audience behaves (qualitative) with what the data tells you (quantitative), gives you the intelligence to optimise your campaign as you go along – providing you possess the level of organisation and flexibility to allow that to happen (context) effectively. That’s what we’ve been doing at Sony EU in Q3 to good effect too, on the back of the colossal success of ‘Skyfall’.

What this means is that social media marketeers have to think and act on fan data much more like online gaming companies if they are going to both engage their customer base, and deliver real returns.