This week’s New Yorker has a terrific piece by Tad Friend about Hollywood’s marketing honchos, including Lionsgate’s Tim Palen and Fox’s appropriately named Tony Sella. Among other treats it offers a handy how-to guide to studio marketing techniques. Here are some of the highlights:
Can’t we all get along? In “Stomp the Yard,” which was about an urban street dancer who goes to college, the poster showed the African-American hero with his back turned, leaving his race indeterminate. The campaign for “Bring It On” portrayed the story as a rivalry between white and black cheerleading squads, even though more than eighty per cent of the film was about the white squad. The first marketing materials for Fox’s X-Men franchise showed only an “X.” Why exclude half your audience?
If the poster shows a poster child, the movie is for kids. Posters are intended to tell you the film’s genre at a glance, then make you look more closely. Horror posters, for instance, have dark backgrounds; comedies have white backgrounds with the title and copy line in red. Because stars are supposed to open the film, and because they have contractual approval of how they appear on the poster, the final image is often a so-called “big head” or “floating head” of the star. Every poster for a Will Smith movie features his head, and for good reason: he is the only true movie star left, the only one who could open even a film about beekeeping monks.
Everybody’s a comedian. Any drama with at least three funny moments in it will be portrayed, in the trailer and TV spots, as a comedy. The trailer for the 2005 film “The Squid and the Whale” conveyed a measure of the film’s delicate unease, but it was basically a series of wry exchanges. A joke, particularly a pratfall, is self-contained, whereas a sad or anxious moment is hard to convey briefly and out of context.
If it’s called “The Squid and the Whale,” it’s somebody else’s problem. That movie was produced by Samuel Goldwyn Films, an independent studio, and grossed seven million dollars—quite good for a small film, but not for a studio release. If a movie’s title and stars don’t tell you almost everything you need to know about a film —“Get Smart,” starring Steve Carell, say— marketers worry. Fox had to spend a little extra to sell “The Devil Wears Prada,” because casual moviegoers wondered what Meryl Streep was doing in a horror film.
Always cheat death. People die in movies; they almost never die in trailers. They are courageous (“The Express”) or missing (“Changeling”) or profoundly alive (“Revolutionary Road”). “If a movie is completely, one hundred per cent about death, then it’s also about life, right?” Fox’s co-head of marketing, Tony Sella, told me. The only thing marketers can’t pull off, Sella acknowledged, is “selling old to young”—persuading kids to see a movie like “Driving Miss Daisy.” “You can try with”—he adopted a baritone voice-over—“ ‘You don’t know where you’re going, but here’s what it’s going to look like when you arrive.’ But they usually say, ‘Screw you, I’ll wait.’ ”