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Entertainment marketing left second-class status in its rear-view mirror decades ago , and as a result , created a heavily trafficked marketplace constantly faced with the collision of time , money , and changing trends . How does entertainment marketing differ from other forms of promotion? Consider these factors :
Entertainment marketing is consumed with speed—there is little or no time to test-market before release , before one source or another gets word of the buzz on a project and broadcasts it to the world at large .
Every film and CD is a new product , and each one is different : different content , different audiences , different deal strucyures . There may be two or three—or ten ---of these products released every week , yet every campaign must hit the target on the money . on time .
With film , any misfile-any hint of bad box office—must be counteracted Budgets for entertainment marketing can be huge ---the average marketing budget for a film that costs between $50 and $100 million to produce is marketing being spent during the six- to eight-week period just before and during the film’s theatrical release dates .
While entertainment marketing fist focuses on selling an experience rather than an object . The audience must first buy into the event , before the sale of objects associated with that encounter—a highly desirable outcome , not to mention revenue stream—can occur .
Entertainment is subject to the same whims and vagaries as fashion . Trends and styles change ; with the pre-production planning and strategizing stretching out years before actual release , entertainment producers must strive to catch the wave before it cashes into the cliffs of consumer apathy .
Award shows—not within the control of the marketer – can make or break entertainment products . Very few consumers may care what seal of approval a chair , a car , or a carton of eggs may carry , but the profitability—or failure –of a film , or a album , can rest on the opening of an wnvelope one evening each spring .
The changing face of technology carries with it ever-expanding channels of distribution for entertainment products , many of which have their own particular following . Each of these channels must be addressed , and marketers must be constantly aware of the demographics involved in every new format .
Entertainment marketing left second-class status in its rear-view mirror decades ago , and as a result , created a heavily trafficked marketplace constantly faced with the collision of time , money , and changing trends . How does entertainment marketing differ from other forms of promotion? Consider these factors :
Entertainment marketing is consumed with speed—there is little or no time to test-market before release , before one source or another gets word of the buzz on a project and broadcasts it to the world at large .
Every film and CD is a new product , and each one is different : different content , different audiences , different deal strucyures . There may be two or three—or ten ---of these products released every week , yet every campaign must hit the target on the money . on time .
With film , any misfile-any hint of bad box office—must be counteracted Budgets for entertainment marketing can be huge ---the average marketing budget for a film that costs between $50 and $100 million to produce is marketing being spent during the six- to eight-week period just before and during the film’s theatrical release dates .
While entertainment marketing fist focuses on selling an experience rather than an object . The audience must first buy into the event , before the sale of objects associated with that encounter—a highly desirable outcome , not to mention revenue stream—can occur .
Entertainment is subject to the same whims and vagaries as fashion . Trends and styles change ; with the pre-production planning and strategizing stretching out years before actual release , entertainment producers must strive to catch the wave before it cashes into the cliffs of consumer apathy .
Award shows—not within the control of the marketer – can make or break entertainment products . Very few consumers may care what seal of approval a chair , a car , or a carton of eggs may carry , but the profitability—or failure –of a film , or a album , can rest on the opening of an wnvelope one evening each spring .
The changing face of technology carries with it ever-expanding channels of distribution for entertainment products , many of which have their own particular following . Each of these channels must be addressed , and marketers must be constantly aware of the demographics involved in every new format .
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