Jurassic Park 3
REIGN OF FIRE
Walt Disney had one of the biggest challenges ever: launch “Finding Nemo”, the much – anticipated fourth movie from Pixar Studios. It had been launched already in America and the box office of the opening weekend was the highest ever for an an animation movie. We were under a lot pressure to equal this success.
“Finding Nemo” is a movie for the whole family, but its main target audience is children. Thinking of that, we created a way of “playing” with the kids through the movie’s name. We create an activity where we had a stand with a girl handing over empty “fish bags”. The child would look inside the fish bag and notice that there were no real fish, only ones saying “Finding Nemo – July 4th only in theaters” The stands were set places such as shopping malls, playgrounds, schools, parks and kids’ birthday party venues. The name of the movie worked as a teaser itself, so we found a media that enhanced the impact on the target, because it was where the kids were and offered them a “gift”. We caught the attention of the target audience and aroused the curiosity of the kids to look for the fish called “Nemo”. We worked with two guaranteed things for children: awareness (everybody knows.) and curiosity (I need to find out..)
It was a specific media idea, which impacted the target audience in different atmospheres, without any dispersion, urging them to look for “Nemo”. It supported the mass media campaign and helped us to have a closer, and more effective, contact with our target. Also, it generated a lot of “free media” through magazine, newspaper and internet news.
The action had a low absolute cost, and an even lower CPT (cost per thousand) person impacted by the communication. The CPT of this action was lower than ony other medium used in the media plan. It was the more profitable one.
The movie had a wonderful opening weekend and became the number 1 Animation Movie here in Brazil too
Advertising Agency: Giovanni FCB, Sao Paulo
PIRATES OF THE CARIBBEAN
Advertising Agency: Saatchi & Saatchi Auckland
V FOR VENDETTA
Disney•Pixar Studios was looking for an innovative way of promoting their big hit in 2006. The communication strategy for promoting the feature film Cars was to be as fun and powerful as the film itself. The idea was to reach the public inside movie theaters in an unique way. We chose an icon from the film’s universe, the airbag, and turned the seats in big movie theatres, like Cinemark and UCI, into veritable car seats.
The objective was to immerse the public into the movie’s atmosphere yet creating great anticipation of the release. It was also necessary to find an unusual way to convey the message to the public in an time in which they were receptive to such message. Disney invaded the main movie theaters in the city by attaching airbags on the backs of the seats. It was a fun teaser announcing the movie’s release.
Like many of the Disney-Pixar movies, the expected audience in Cars were children, adolescents, parents, and adults who like animation and fun. The purpose of the campaign was to captivate adults and instigate children. Due to the fairly high price of tickets, the targets were people from classes A, B, and C.
The concept was a success. The campaign became the talk of the town, kids left the sessions charmed, many of them were asking to take the airbags home. Tickets were sold out in all theaters and the movie ran for more than 5 months.
Advertising Agency: B/Ferraz Full Promoton
THE DUKES OF HAZZARD
The objective of the promotion: To promote the new film TERMINATOR SALVATION.
The Idea: The story behind the entire Terminator saga is that in the near future machines will turn on humans and aim to destroy us all.
To promote the new film ‘TERMINATOR SALVATION’, we created early signs of attacks on humans by the everyday machines that we all interact with inside the malls.
Advertising Agency: DDB South Africa
ALICE IN WONDERLAND
The Hoyts Corporation distributes films across its 55 cinemas in Australia and New Zealand. With the release of SAW VII fast approaching, Hoyts were at a loss on how to create genuine excitement for what was being viewed as ‘yet another SAW film’.
With only a month to go before the prelaunch promotion needed to kick off, our brief was clear:
- Reinvigorate the ageing SAW franchise ahead of its final release.
- Hit the box office target of $2.5m AUD.
Having never run an activation before, Hoyts required a cut through campaign that would justify their decision.
With a tight timeline and a budget of under $50k, we needed to develop a campaign that not only punched above its weight in terms of reach and engagement, but was also quick to market.
Cue the ‘SAW PhotoBooth’. Placed into Hoyts cinema foyers, film-goers were given the opportunity to view the SAW trailer and have a free photo taken. After the trailer finished, the photo countdown began, 3… 2… 1 photo.
Before the photo was taken however, SAW’s frightening antagonist Jigsaw would stick his head into the booth just in time for the photo to capture the terrified reactions!
With the SAW franchise in decline, our focus was to give audiences a taste of what the film had to offer.
Given we were dealing with a Gen Y audience that practically lives online, we felt that by bringing the film to life in a fantastically horrifying way and capturing audience reactions, the reactions themselves would provide the best showpiece for the film.
Our strategy was to develop a micro activation and use the physical engagements from the activation as content for the wider social media campaign, using Facebook and YouTube in particular to carry the conversation across Australia.
The key campaign results from a consumer perspective were as follows:
- 4035 scary cinema experiences (50% over target).
- 111,426 YouTube views (345% over targe
Advertising Agency: Play Communication, Sidney
Advertising Agency: Lorem, Sao Paulo
Creative Director: Icaro de Abreu
Launch of the movie The Hole in 3D directed by Joe Dante. (A pair of brothers stumble upon a mysterious hole in their basement that leads to the darkest corridors of their fears and nightmares.)
Step 1: 2 weeks before: GUERRILLA. Floorstickers with a man falling into an hole were placed all over metro stations in Rome and Milan and in hundred of movie theaters.
Step 2: 2 weeks before WEB. Website about the movie with extra content (trailer, bills, phobias etc..).
Step 3: 10 days before: AMBIENT. Fake legs were added at the floorstickers and at special Billboards.
Step 4: 1 week before: EVENT. A black container was placed in the center of Milan and people were invited to challenge their fears. An infrared-cam recorded people’s reactions and the videos were uploaded on youtube and facebook.
Step 5: PROMOTION. Limited edition t-shirts (showing different fears to fight) were produced. People could win them entering the container.
Step 6: GADGETS. Fluorescent bracelets were given during the days of the event.
Step 7: 2 days before: 3D PRINT. Special 3D print was published on free press “On Stage”. 3D glasses were distributed with the magazine.
Advertising Agency: Auge, Milan
You might never have wondered what it would be like if Clint Eastwood had played Wolverine or Leonard Nimoy got the part of John McClane in Die Hard. I know I haven’t. But nevermind, it’s already been done and the results are intriguingly good. This is not advertising…
William Shatner and Natalie Wood join the the Blue Man Group for Stults’s new take on Avatar.
Illustrator Sean Hartter, 38, has been reimagining classic film posters but with retro casts in them for the past three years. His Alternate Universe Movie Poster project encourages other artists to come up with their own designs, and the idea has spread around the globe. Many of them are arty reinterpretations of a film’s theme, while others are clever pastiches of old styles of movie poster.
Among them are works by New York illustrator and designer Peter Stults, 29, who has also cast Al Pacino as Wolverine, along with Dean Martin, Jerry Lewis and Jack Lemmon in The Hangover. Other posters include Charlton Heston and Harry Belafonte in Pulp Fiction and Frank Zappa, Iggy Pop and David Bowie in The Big Lebowsky.
Maybe even cooler than the originals.. Charlton Heston and Harry Belafonte in Stults’s Pulp Fiction
Jack Lemmon, Dean Martin and Jerry Lewis in Peter Stults’s alternative movie poster for The Hangover
Stults even makes the posters look old by Photoshopping fold marks and signs of ageing on to them. In the alternative movie world Jean Luc Godard has directed Trainspotting with Terence Stamp and Michael Caine in it, and Marilyn Monroe and John Wayne are the stars of Kill Bill.
Stults enlists a 1960s British cast for Danny Boyle’s seminal 1996 masterpiece Trainspotting
Hartter, from Massachusetts, says dozens of similar sites have sprung up around the world, many doing alternative posters of yet to be released films. At the moment Christopher Nolan’s upcoming third Batmanfilm is occupying a lot of designers minds, with predictive poster versions of it popping up across the web. Hartter says: “I draw my inspiration from exploitation posters from the 60s and 70s, and the almost mythic stories of movies that could have been. Things like Sylvester Stallone almost playing Han Solo in the original Star Wars, or David Lynch being courted to direct Return Of The Jedi. I guess what I’m trying to impart is the sense that you might see these posters in the window of a sleazy urban movie theater, sun bleached and neglected, brittle from age. But instead of starring Z list actors and concepts no one has heard of, they are adaptations of comic book story arcs, blockbuster films that never became blockbusters, fantasy novels that are, in reality, impossible to actualise into films. I’ve always been fascinated by foreign versions of iconic film posters in the US, and alternate posters that were never used or were only used in a limited fashion. I’m also a huge fan of the pastiche photo manipulations of Terry Gilliam. I grew up watching Monty Python and the way Gilliam utilised photographs to create these bizarre worlds made a massive impression on me. My style is a little wonky but I really try to adhere to rules I’ve learned studying the way they assembled posters in the heyday of exploitation and grindhouse films. I’ve designed a few hundred posters for events and websites, or just for my own satisfaction.”
Ultra modern Inception gets a 1950s remake from Stults
Sal Mineo and Shirley MacLaine are stars of Hartter’s reimagined 2008 monster epic Cloverfield
Hartter has made friends with a lot of artists and admirers due to the distribution of his work across the web and the world.
He adds: “Some people don’t like my work and that’s fine. A bigger percentage do like it and respond to the tongue in cheek attitude that is prevalent. I try and impart a little bit of humor and a lot of nostalgia. I’m very serious about the way I create the posters but at the same time they are a parody, and definitely the antithesis of modern poster design. I use Photoshop too, but I tend to use it as if I’m cutting out paper or photographs and assembling them. I hand draw things too but approach this method in the same fashion.”
Stults, who has been mocking up modern film posters as a hobby with pals for about 10 years, was shown Hartter’s site by a friend and began doing his own alternate movie designs and sometimes adapting Hartter’s existing posters.
He said: “While studying film & digital media at UC Santa Cruz and farting around on photoshop in my bedroom, I began dabbling with the idea of “made up” movie posters. Back in 2002 to 2004 my friends and I toyed around with silly ideas; taking song titles and using those as stepping stones or someone would say ‘I want to see this actor and that actor in the same film’ or we would do the ‘It’s Mulholland Drive meetsJumanji’ film summarising approach to help create a movie concept. A while back a friend of mine forwarded me a site where an artist had made posters of films that, title wise, we were familiar with, but there was a slight difference; they were remade as if they belonged to a different era or a different genre. The name of the movie was there, but the actors were different, the style was different, and I loved the concept. So I went forward with this theme; what if movies we were all familiar with were made in a different slice of time? Who would be in it? Who would direct it?”
Stults was a typical comic book obsessed teenager who grew up in Santa Cruz, California, drawing his own superheroes.
He said: “The ‘what if’ idea Sean created is an inspiring tool. The creativity is very lively right now: Sean’s alternate universe, the fake Criterion Collection covers, posters for movies that exist in fictional books, even the mash-up trailers on youtube. I’ve always had a passion for film. I worked at a Hollywood Video for a while and every night I was taking home movies to watch. Movies of today and yesterday I have an appreciation for. The look and feel of the movie posters of previous decades have such a unique art to them. It’s a style I enjoy playing around with. When it comes to making the posters and contemplating ideas, I sort of think of movies I’ve recently seen or simply enjoy and then just wander in the ‘what if’ world. Ricky Nelson in Donnie Darko, Monty Python’s Shaun of the Dead, Robert Redford & Dustin Hoffman in Fight Club. There’s also some film history research involved too. Who was a leading actor at a certain time, what names were popular in terms of directors, and, of course there’s also the absurd.”
Lenny Bruce returns in Hartter’s version of Watchmen
This is not advertising…
In 2003, The Gunn Report acclaimed Soken DVD campaign as the third of the most awarded commercial in the world (35 awards).
KILL BILL KILL BILL
This series show the problems when you play a DVD player. It then recommends a Soken DVD player instead. The officer man talks to his colleague about the ‘Kill Bill’ DVD. When he is speaking, he is repeating himself again and again. Why? Because his DVD player doesn’t play smoothly.
The Junior Visualiser talks to his co-worker about a Japanese porn DVD. When he is speaking, he freezes up. Why? Because his DVD player is frozen.
The office girl talks to her friend at the elevator about the ‘Titanic’ DVD she saw yesterday. However, she isn’t speaking smoothly. Why? Because her DVD player can’t play smoothly either.
Advertising agency: Euro RSCG Flagship, Thailand
Creative Director: Chukiat Jaroensuk/Passapol Limpisirisan/Wiboon Leepakpreeda
Copywriter: Sittichai Okkararojkij/Passapol Limpisirisan
Art Director: Nimit Songsri/Wiboon Leepakpreeda
Production Company: Matching Studio, Bangkok
Director: Suthon Petchsuwan