For Orgasm, we had numerous places turn down the theatrical key art for being too risqué, so we had to use a backup key art.ĭ - Do you see theatrical campaigns eventually going all-digital?ĭ - How much time do you give the design team to turn in their first round of explorations? And do you find that more time equates to better presentations? A design that is highly dependent of colors, for instance, sometimes suffers in B/W ads. M - The ads should reflect the campaign, but that doesn't always work for every film, so sometimes you have to wing it. Do the ads generally reflect the poster art or do you sometimes mix it up (as in Orgasm, Inc)?
This makes it even more imperative that our key art translate to small and very small sizes, though.ĭ - Yet, you also supplement your digital campaign with newspaper ads. M - No, because we always release our theatrical films on DVD, as well. Does that minimize your emphasis on generating a terrific poster? For you guys (Greenlight Creative), I will always want to give as little direction as possible, I just want you to see the film and trailer to understand the general themes we're going after, then let you do the conceptualization.ĭ - Having done a few campaigns for you, I recall you mentioning on one project that the core marketing was to occur in the digital realm. M - It depends on the film and the agency. When you come up with the creative brief, which is the directive for your design agency to follow – do you tend to give specific concepts or is it more of an overview of which elements to highlight?
#Anydoc captureit tv#
But, I hate most reality TV, and I suspect that there is little correlation between reality tv and the kinds of films we distribute.ĭ - Let’s get to the key art or poster art. M - Generally I think its made for a landscape where more people are open to seeing docs.ĭ - Do you think that a younger demographic has embraced documentaries due to Reality TV? Of course we like it when our films are successful, and gauging the possibilities of their success plays into our acquisition decisions.ĭ - Have Michael Moore's mainstream awareness, or the popularity of An Inconvenient Truth and Super Size Me made marketing documentaries easier, or, conversely, set unrealistic expectations? Even if we're not sure we can sell it, being a private company, we have the luxury of being able to acquire films simply because we love them, believe in them, and/or support their message or theme. It’s not only important for consumers but also all the decision-makers everywhere we are trying to sell the film to.ĭ - When you acquire a film, do you go on a gut instinct or is there a criteria of elements required to manage the risk, such as: cast, genre, and director? In all those platforms we are competing against everything else, and in many cases the key art is first and primary weapon in the arsenal. M - Successful key art will follow the film through all platforms - theatrical, DVD, VOD, Internet, etc. There is also a greater need in doc key art to represent the essence of what the film is about.ĭ - When you release a documentary are you competing with all of the film studios or strictly a niche of art house folks who cater to independent film? Simply put, whom are you creating the poster for? Fictional films can have more leeway in terms of text needs, style and feel, whereas docs usually have to convey the concepts of "important" and "authoritative". Theatrical release differently than a fictional film?
In terms of artwork, do you approach a documentary A former NYU film-school undergrad, Marc is a true lover of cinema and appears comfortably ensconced in New York with his wife and two children.ĭarryl - First Run Features has an extensive history of releasing documentaries. I sat down with First Run Features VP Marc Mauceri to discuss his approach to key art and entertainment marketing. Today, the company remains an active player in the independent scene, releasing about 15 films theatrically and nearly 40 titles on DVD and Video-On-Demand annually. For over 30 years First Run Features has fostered the release of daring, and often controversial films, such as the Academy Award nominated The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers, The Trials of Henry Kissinger and For The Bible Tells Me So.
0 kommentar(er)
