1. Presented By-
Dr. Arun Kumar

2. What is Marketing?
― Marketing is an Organizational function and a set of
processes for creating, communicating and
delivering value to customers and for managing
customer relationships in ways that benefit the
Organization and its Stakeholders‖

3. What is Film Marketing?
Film Marketing in Line with the Marketing
Management processes in other industries, begins at
the new product development stage and Continuous
throughout the information of the project ideas,
through production and into distribution and
exhibition.

4. What is SCM ?
(Supply Chain Management)
― All value adding activities from the extraction of raw
material through the transformation processes and
delivery to the end user‖.

5. Film Industry Supply Chain
Pre Post Exhibition
• Rights Production • Above the line, Production • Sales
acquisition, • Cast and Crew Below the Line • Editing • Distribution • Theatrical(Cinemas)
• Script selection • Soundtrack • Trailers • DVD/VCR/Blue
development Ray
• Greenlighting • Publicity
• Financing • TV (free and pay
Financing per view free TV)
Distribution
Production
Development & Advertising

6. NPD (New Product
Development) and Film
Marketing
 New Product Development is defined as ―the
process of conceiving and creating a new product
and outcomes of the process‖.
 This is essentially what filmmaking is concerned
with and and film marketing has the dual function
of informing and being informed by this process.

7. NPD cntd…
 In common with other industries, successful
innovation and the survival of companies in the film
industry.
 Although in many industries, the term new product
development (NPD) is commonly used, this is not
the case in the film industry.
 Despite the lack of common terminology between
film and other industries, the generic NPD processes
are in existence in the film industry.

8. Role of Market Research in
Film Marketing Process
 The role of Marketing Research is Developing and
Positioning new products, entering new markets and
understanding the competition is recognized.

9. Researches Undertaken for the
Film Marketing
7 types of research undertaken during the film
marketing process…
 Concept testing
 Positioning Studies,
 Focus Group tests,
 Test Screenings,
 Tracking Surveys,
 Advertising testing and
 Exit Surveys.

10. Concept testing
 Title testing can also be included in this phase of
testing, however, as can be seen from the trade
press, a number of projects do not formalise their
titles at such an early stage, preferring to use
working titles for films until they have finalised the
title later in the production.

11. Positioning Study
 This test analyse the various elements, or
‗marketing assets‘ of the film.
 Based on data collated by the distribution team can
analyse the potential financial performance of the
film based on its genre, cast.
 This is also a basic form and is seen as key element
of the development process.

12. Focus Group Testing
 A focus group is a form of qualitative research in
which a group of people are asked about their
perceptions, opinions, beliefs, and attitudes towards
a product, service, concept, advertisement, idea, or
packaging.
 Questions are asked in an interactive group setting
where participants are free to talk with other group
members.

13. Test Screening
 A test screening is a preview screening of
a movie or television show before its general release
in order to gauge audience reaction.
 Preview audiences are selected from a cross-section
of the population, and are usually asked to complete
a questionnaire or provide feedback in some
form. Harold Lloyd is credited with inventing the
concept, having used it as early as 1928.
 Test screenings have been recommended even for
starting filmmakers "even if a film festival is fast
approaching"

14. Advertising Testing
Advertising research is a specialized form of
marketing research conducted to improve the
efficiency of advertising.
 Pre-testing
Pre-testing, also known as copy testing, is a
specialized field of marketing research that
determines an ad‘s effectiveness based on consumer
responses, feedback, and behaviour.

15. ADD Testing Cntd…
 Campaign pre-testing
A new area of pre-testing driven by the realization
that what works on TV does not necessarily
translate in other media. Greater budgets allocated
to digital media in particular have driven the need
for campaign pre-testing. The addition of a media
planning tool to this testing approach allows
advertisers to test the whole campaign, creative and
media, and measures the synergies expected with an
integrated campaign.

16. Add cntd…
 Post-testing
Post-testing/Tracking studies provide either
periodic or continuous in-market research
monitoring a brand‘s performance, including brand
awareness, brand preference, product usage and
attitudes. Some post-testing approaches simply
track changes over time, while others use various
methods to quantify the specific changes produced
by advertising—either the campaign as a whole or
by the different media utilized.

17. Exit Surveys
 Exit surveys provide a robust framework to better
understand the motivations and drivers that
contribute to an individual exiting about the features
of the add.
 The truth is that while an individual may be faced
with some strong factors that serve to 'push' them
towards ignoring the Stimuli, they may also be
faced with an equally strong 'pull' towards another
Advertisement, concept, relativity, point of view.

18. The Film Marketing Mix
 The Film Marketing Mix consists of the various
elements to be considered in strategic Marketing
Planning, covering Product, Price, Place, Place,
Promotion as well as various additional elements.
 The film marketing mix comprises of the creative
team, actors, scrip/genre, age classification and
release strategy.

19. Release Strategy
 In most film markets, films are releases through
what is known as the window system.
 In this system, films are first given a theatrical
release(at cinemas) and after a contractually agreed
period, they are made available on DVD/ Blu-Ray.
 Each window is protected from possible
cannibalisation by alternate release fomats.

20. Release Strategy Cntd…
 Following with the other contractually agreed
period, they are available to pay per view television
channels, then free to view.

21. Film Marketing Materials
The conventional film marketing material include :
 Posters,
 Trailers,
 Merchandise,
 Electronic press kits and stills.

22. Film Trailers
While the film poster may be displayed in prominent
places in order to be seen by target audience, the
film trailer would only be seen by those going to see
other films at the cinema, at the discretion of the
projectionist.

23. Film Festivals
Definitions of film festival –‖an established venue
usually organised around screenings and prizes,
dedicated to introducing movies of a certain style to
a paying audience‖.

24. Film Markets
Defined a- business venues closed to the public which
may be associated with a festival or not. Although
there is a distinction between events which are
purely festivals and those which are primarily
markets, these distinctions are blurring.

25. Key Figures in Film Industry
In terms of Gaining access to the market, the key
figures for film producers to engage with are –
Key
Figures
Sales Film Festival
Agent Distributor Organisers

26. Key Cntd…
These Keys are the Gate keepers who will guide the
film through the Choppy waters of the film market or
will prevent the film from having life beyond
production.

27. Social and Societal Marketing and
Film
Societal Marketing is established within the marketing
Literature as concerned with the ethical of societal
implications of commercial activity, social marketing
theory refers to the application of marketing techniques
in communicating social issues.

28. Social Marketing Cntd…
 Films does have a role to play in social marketing.
Social arts marketing can be defined as the use of
arts in advancing social causes and influencing
social change.
 Documentary filmmakers have entered this realm
through their efforts to increase the audience for
such films as well as for feature films which
highlight social issues in an attempt to influence
social change.

29. Social and Political impact of
Art(Film)
As filmmaking grew more sophisticated, the social
and political roles became evident and films are
used to communist ideologies or to express artistic
vision. For e.g. –
Sarkar, Aarakshan, Rajniti, Nayak and the list is not
ended yet…

30. Film as Educator
 Films can be used as an educative medium in the
country.
 Today, feature films are primarily viewed as forms
of mass entertainment and the social element is often
overlooked.
 Art represents an reflects reality and rt forms such as
literature and filmmaking take place in a socio-
political context or environment.
 In this way, filmmakers either reinforce social norms
or challenge them.

31. New Routes to Market
 There appear to be two groups of filmmakers who are
utilizing the internet as an alternative method of
distribution. :
I. Those labeled ‗net natives‘ who have not operated within
the conventional structures of the film industry who are
finding ways of creating revenue streams through
internet distribution or are developing and distributing
films this way as a ‗calling cards‘ which they can use to
develop their reputation within the film industry.
II. Some established filmmakers have turned to online
distribution in order to quickly gain exposure for their
film.

32. The Film Marketing Plan
• Title
A little about • Genre
• Rating
the movie...
• Movie’s Main Theme
Target Market? • People who caqn relate the movie
• In theatres with other related movies and/or genres
Advertisement •
•
Internet, newspapers and by television.
Word of mouth
to the public... • Demand – hold a showing in only certain
areas/theatres.

33. Plan CNTD…
Promotion • exciting trailers, brightly coloured posters and eye-
catching ads that will make people turn and stare.
Clips
• Production House Details
Production • Their history & mile stone Movies
•
Details •
Mission, Vision, Goal
Competitors Analysis
• Production cost
Budget • Advertising Cost
• Internal Expenses

34. Marketing Activities
Product: Pricing:
 Develop new products  Establish price
objectives
 Modify existing
 Conduct cost analysis
products
 Analyze competitor‘s
 Test-market products price
 Select brand name  Set actual prices
 Package product

35. Cntd…
Promotion: Distribution:
 Determine types of  Select wholesalers and
promotion retailers
 Design the advertising  Establish procedures
massage for handling and
 Selecting advertising moving products
media  Find the best locations
 Schedule the for plants, warehouses
advertisements and retail outlets

36. Market Segmentation
Market segment – division of heterogonous market
into homogonous market based on different
characteristics
Segmentation Based:
 Geographic bases - city, region
 Demographic bases - sex, race, marital
 Psychographics - a person‘s attitude, lifestyle
 Product-related - brand loyalty

37. Pricing Strategies
 Pioneer pricing – leadership pricing in the market
 Price skimming – setting an initial high price to cover
new product cost and generate a profit
 Penetration pricing – setting an initial low price to
establish a new product in the market
 Psychological Pricing – setting an initial high price to
respond irrationally consumers
 Price Discounting – Price reduction offered as an
incentive to purchase

38. PROMOTION
Promotion - the communication of favorable,
persuasive information about a firm or product in
order to influential buyers
Promotional Objectives:
 Informing
 Increasing sales
 Stabilizing sales
 Positioning the product
 Building a public image

39. The Promotion Mix
Promotion Mix - the combination of advertising,
personal selling, sales promotion, publicity used
to promote a specific product

40. Promotion Strategy for Film
Marketing
Strategy #1: Interrupt
 Traditional advertising interrupts a viewer‘s TV
show or movie as part of a value exchange: to
receive free programming, you accept messages
from the show‘s sponsors.
 Social media may be the darling of the trades and
marketing departments, but traditional advertising
still does the heavy lifting for movie awareness.

41. Strategy #1: Interrupt Cntd…
Re-distribute TV spending
 Studios spend 70% to 75% of their marketing
budget on TV.
 The buzzzz is split between network, cable and spot
ads. But after 50 years of a steady run, TV
advertising is finally coming under pressure as a
result of studios reducing their TV spend in 2010.

42. Strategy #1: Interrupt cntd…
Create must-see movie trailers
 66% of homes now have DVRs, which I assumed
would be directly hurting movie trailer viewing.
Several panellists mentioned that trailers are TiVo-
proof, meaning they are worth ―un-skipping,‖
watching and then skipping forward to the show.
 Trailers are also highly popular online and in movie
theatres, although the volume of in-theatre
promotion is teetering on over-saturation.

43. Strategy #1: Interrupt cntd…
Don’t underestimate the power a memorable logo
A great movie logo becomes memorable much
faster than standard brands.
 The Sholey, Pirates of carebian logo, became a
wide recognized icon in a few months, a task that
took Coca-Cola several generations to achieve.

44. Strategy #2: Discover
 Assuming the marketers have done their job, I‘ve
heard of their movie. Now it‘s time to decide if it‘s
worth watching.
Movie reviews
Professional movie critics used to own this space,
but now only a handful can collectively move the
needle on attendance.

45. Strategy #2: Discover cntd…
 Video (on demand) kills the DVD store impulse
renter
 Not long ago, the time consumers spent wandering
Blockbuster aisles averaged 23 minutes.
 Studios started to decorate DVD sleeves with film
festival laurel wreathes to market to video store-
browsing consumers, hoping they‘d notice the
talented actors on the shelf.

46. Strategy #2: Discover cntd…
 The best non-Internet PR channels
 The biggest PR coup your movie can have is to get
the star of your film to host Saturday Night Live.
Placement on the cover of New York Times or other
major magazines comes next. Awards and exposure
from major film festivals is more important for
smaller release films than major releases.

47. Strategy #3: Engage
What constitutes a radical reinvention of marketing?
The only clear answer is engagement through social
media, which has been around for less than 10
years.

48. Advertising
 Non-personal communication to a target audience
through a mass medium, such as TV, Radio,
newspapers, or magazines, and outdoor display
 Types of Advertising:
◦ Primary-Demand Advertising: for all products
◦ Selective Brand Advertising: for specific products
◦ Institutional Advertising: create public image

49. Advertising Promotion
 Advertising Media – variety of communication
devices for carrying massage to potential customers
 Direct Mail – delivery massage directly to mass
places
 Internet Advertising – put the massage into website
or mailed directly to customer email

50. Publicity and Public Relation
 Publicity - a non-personal form of communication
transmitted in news story form and not paid for
directly sponsor
 Public Relations - a set of communication
activities designed to create and maintain a
favorable public image for firm

51. Major Public Relation Tools
Web Site
Corporate
Identity
Materials News
Speeches
Public
Service
Activities
Special
Audiovisual Events
Materials Written
Materials

52. Some challenges for distributors
 Traditional advertising failing
 Hard to reach all buyers
 Aggressive content competition
 Title awareness

53. Why are new movies released in the
theatres only on Friday?
 The release of films in India follows the American
style. There a film is released on Friday so that
people can watch the film with their family during
the work-free weekends (Saturday and Sunday)
leading to good opening collection.

54. Myths of Friday Release
 Actually there is no hard and fast rule that movie is
to be realesed on friday only the basic aim for this is
that generally the friday is the last working day of
the week in 90% offices and the people have next
two days of leaves.
 So in order to give the movie a good start the
distributers make sure that the movie is released on
friday in order to get very good opening for the
movie as people will come and watch the movie as
they have got two days to enjoy.

55. Myths cntd…
 As stated above that it is not any hard and fast rule
there have been instances that movie has been
released on weekdays as well. because there was
long holiday following that week such as for diwali
and all.

56. Film Making Process
Generation of Idea
Artiste Technician Selection Marketing
Signing with distributor/Music Labels
Actual Production of the Film
Film Censor
Marketing
Film Release
All rights reserved

57. Mastermind approach – blending several tools to
deliver a consistent image to the audience
Advertising
Public relations
Media Planning/Buying
DM/Internet/Tele
Film mktg
AUDIENCE
Alliances/deals
Creative support
Ground support
Pre/Post launch activity

58. Benefits of’Mastermind’ approach ?
• Total involvement and ownership approach – Involve at
concept stage
• Professional,scientific and updated with current trends
• Focus on Marketing communication – marketing
perceptive
• May help improve Hits : Flops ratio
• Drive revenue through new media businesses – Mobile,
IT, Sat radio, GPRs, DVD, VCD etc
• Better efficiencies and effectively

59. Benefits cntd…
• Single point control will result in a cohesive and
planned approach as against ‗one man managing all‘
approach Control, consistency and better coordination
with other team members
• Result in cost savings without compromising on the
quality or deliverables, by eliminating wishful
spending
• Need and strategy driven rather than individual driven -
objective
• Film will be treated like a BRAND rather than a
product

60. Emerging Trends in Film Marketing
• Increased focus on packaging and marketing of films
• Increase of global majors through Indian Subsidiaries or
alliances
• Higher focus on return on capital and payback period
• Production of Niche Films
• Newer distribution/exhibition formats- Video
parlor, digital films, Cyber centers, mobile phones etc.
• Films for TV, Multiplexes, Cities, NRI‘s, Home viewing
etc.

61. Trends cntd…
• Films with tight schedule and tight budgets –
Timely completion
• To ensure profits [ not necessarily HUGE profits]
win – win model
• Each film will be a profit center, losses/profits will
not be carried forward or rationalized
• Increase in films production by Music companies,
because of high cost of procurement of music, zero
control and unreliable delivery schedules
• Royalty/revenue sharing model as against
MG/fixed cost – at all levels

62. Identify the Hooks
 Hooks are exploitable elements, aspects associated
with the production that will attract those people
who comprise your audience profile.
 Hooks take many forms: a person, place, thing
action or idea.
 Many times, a film or video‘s title alone will
function as the Marketing hook.
 Finding the right Hook means a mediocre film can
become widely successful which attract the target
audience.

63. Tips for Marketing & Promotion of Films
Understand Your Target Audience –
When independently promoting a film or video, properly
identifying your audience is a little difficult because you
really have three separate audiences, not just one. They
are:
 Those who will watch the product (consumers via
purchase, rental or broadcast situations). Consider a
viewer‘s gender, age, education, income, religion, race,
occupation and location.

64. Tips Cntd…
 Those who will buy/sell the product (distributors,
acquisition agents, sub distributors, video buyers).
Each has different motivations and needs for
product.
 Those who will promote the product (publicists,
media, festival programmers). Their support is very
important in gaining industry access.

65. Analyze Your Hooks
 A good selling point for your film or video – or
any other product for that matter – is known as a
marketing ―hook.‖ Hooks are exploitable elements,
aspects associated with the production that will
attract those people who comprise your audience
profile.
 Hooks take many forms – a person, place, thing,
action or idea. Many times, a film or video‘s title
alone will function as the marketing hook. Finding
the right hook means a mediocre film can become
wildly successful while a much more accomplished,
yet hookless, project sits on a shelf.

66. Hooks Cntd…
 The survival and success of most independent films
and videos are predominantly dependent upon
realizing the proper hook to use in the promotional
campaign.
 What is the single most-promotable element of your
film or video that will attract its target audience?

67. Create a Concise Logline
 Your movie or video project cannot be all things to all
people.
 You should be able to define your film in one concise
sentence, identifying its genre in the process while at the
same time conveying the basic storyline to the potential
viewer.
 This method of summarizing your entire film into a
short sketch is known as the ―logline.‖ Consider your
film‘s structure, genre, emotional pleas, characters,
action and setting when writing a logline.

68. Logline cntd…
 This logline will be used in most of your marketing
efforts as a way to tell the story of your film. If
you‘re planning project for a very specified target
audience (i.e., an urban or horror film) solicit this
group for input before you start using your logline.
 It‘s vital that the core viewer understands your
promotional campaign, especially so if they
represent a small or limited number.

69. Utilize Free Media publicity.
 Much of what you read in magazines, hear on the
radio, see on TV and surf on the Net is a product of
publicity, or, more specifically, the product of media
or press releases.
 You can create and/or report on news that is then
disseminated to the various media deemed
appropriate for the subject.

70. Free pub cntd…
 Information from situations surrounding the
production of an independent film is assembled in
written format, supported with photos, videotape
footage or samples and sent to the media in the form
of a release.
 This kind of publicity should constitute the majority
of your promotional campaign.
 Except for the time needed to create the
information, and any negligible costs involved –
postage, phone, paper, envelopes, videotape – it‘s
free.

71. Stage a Publicity Stunt
 The purpose of a publicity stunt is to arouse
interest in both the public and the media – in a
unique way.
 It‘s usually not so much something you want to
invite these groups to witness (though that‘s not a
bad idea), but rather something you do that will
create attention on its own account.
 Examine your film or video for elements that you
can exploit through a publicity stunt.

72. Stage cntd…
 This is a very necessary tactic for self-distributors
because you do not have the budget available to
advertise your project through common means.
 An attention-getting publicity stunt is one involving
the public – the best scenario being bystanders in a
public area who have no idea what to expect.

73. Publicity Stunt
 Confrontational settings make for successful
publicity stunts, and if your film or video features a
controversial topic, exploit it for all it‘s worth.
 Try creating a human billboard for your film or
video, staging appearances or costume contests at
local video shops, making a float for any local
parades and some kind of contest that creates both
consumer interaction and visual interest.

74. Hold a Premiere
A premiere is a great way to gather publicity
for your film
While at the same time throwing a fun party for all
involved. To make sure the night is successful,
consider the following:
 Invite all local print and broadcast media
entertainment editors and reviewers
 Stage a publicity event on the night of the premiere
 Hold the premiere in a place that is fitting for the
project. A bar is a good place for a ―party‖ film,
college auditorium for an edgy independent movie,
 local library screening room for an educational or
children‘s-oriented video.

75. Premiere Cntd…
 Solicit smaller local broadcasters to simulcast the film
in conjunction with its screening.
 Have a ―celebrity‖ or two on hand for the event such as
local politicians, sports figures and other well-known
individuals in your community.
 ―Salt‖ the audience with a good number of friends and
supporters to ensure a Favourable response. Coach them
on appropriate laugh, gasp and applause points.
 Offer copies of the video or DVD available for
purchase before and after the show.
 Distribute some small promotional item to everyone
attending. Arrive in a limo. Really, it‘s worth the
expense.

76. Work with Sponsors
Approach product manufacturers, service providers,
 restaurant and bar owners, media outlets and other
companies to provide monetary, promotional or
product/service sponsorship to facilitate the marketing
of your film.
 Trade advertising space on your DVD sleeve in
exchange for on-air commercials with a local cable
channel.
 Splice a 30-second ad on the front of your film with a
company that can provide you with printing, media or
promotional opportunities.

77. Sponsors cntd…
 Think of situations that will allow you to reach
larger or more targeted audience groups, then
approach companies that are already successfully
reaching these segments and work with them to
―piggyback‖ on their efforts.

78. Enter Appropriate Film Festivals
Originally designed as a forum to present
new and original independent films to a more ―art-
minded‖ audience, film festivals have now become sales
markets and publicity stops for most every kind of movie
aimed at the general public. Showcasing shorts, features,
experimental, 8mm, digital video, animation, adult,
documentary, music and even Pixelvision movies, there
really is a festival for everyone. But it is important to
enter only those festivals that will provide some benefit
to your promotional efforts.

79. Answer the following to decide which is
best for your specific film:
 How much will the film festival cost you in time,
money and opportunity?
 How will the timing affect your promotional plan?
 How worthwhile is the festival?
 What kind of contacts and exposure will result
from your participation?
 Is there a cash, product or distribution ―prize‖?
 How is the market aspect of the festival?

80. Solicit Reviews
With the ever-increasing number of media outlets
operating on the planet, finding a source for
reviews isn‘t too tough.
 A quick glance through any publication, or a flip
through the channels will uncover any number of
revieworiented articles and programming.
 And, almost every single film and video
advertisement – print or broadcast – features review
quotes as part of its marketing message.
 Using reviews in this manner offers promoters a
simple, cheap and effective way to influence an
audience.

81. Solicit cntd…
 An objective, third-party endorsement of your
project is always more convincing than saying the
same things yourself. Thus the popular habit of
placing review quotes on film and video
packaging. And, reviews don‘t always have to
come from entertainment-theme publications or
writers.
 A review from a product manufacturer, service
provider, non-Hollywood celebrity and others
have just as much ―oomph‖ if applicable to your
film. For example, a review from a well-known
surfboard designer for beach-theme flick is a
pretty good idea.

82. Use the Internet
The benefits of using the Internet as a promotional
medium are so numerous – low-cost, instant access, ease-
of-use, non-invasive, constantly available…it‘s hard to
know where to start.
 One thing is certain, however, the Internet should not simply
be considered during the post-production promotional
phase, but also implemented as early in the process of
making your film or video as possible.
 This kind of proactive publicity can lead to
financing, crews, media coverage, even distribution
deals, and the best part, it‘s really pretty cheap.
 Be sure your web site looks professional, is technologically
sound and features an easy-to-find contact area.

83. What the Industry person Speeks
?
 Now lets have a discussion on what the industry
Giants says about the new Marketing Trends in Film
Industry…

84. UTV Motion Picture:
Marketing Head, Siddharth Kapur, added another
point here.
He said, "Spends in past campaigns would tend to be
solely from the producer/ distributor's pocket,
without the benefit of brand tie-ups to take the buzz
on the film to new levels.
The trend of brands associating with movies on co-
branding and promotions is a relatively recent one.

85.  On both 'Rang De basanti' and 'Taxi No 9211', they
had a substantial marketing budget, which was
strongly supplemented by our promotional
partners, thereby enabling these films to generate a
tremendous level of awareness through innovative
and brand-relevant communication across multiple
mediums."

86. Yashraj Production:
 They had another point to
ponder upon.
"In the last five years,
non-traditional media houses have opened up. But the
fact that a producer can spend more doesn't really
mean that he has to. When you say, you have spent
so many crores, it isn't really something to be proud
of. What really matters is how we spend the
money,"

87. Mukta Arts
 A point :
"Marketing surely has to translate into driving more
people to the theatre on that first critical weekend.
 Today, with the change in speed of operations, a
major campaign can be launched in a matter of
days, but in such a situation, factors from the ability
of differentiate your radio message from the TV to
the spread of your costs and what media you buy –
all becomes critical".

88. Is the phenomenon of Marketing and High Budget in
Advertising is seen only in the big banners or is it
seen across the Indian film industry?
 The Indian film industry has definitely woken up to
the importance of marketing in driving the
business, however, it is still looked at by many as an
additional expense rather than an investment like
the cost of production.
 In the case of 'Rang De Basanti', where the total
marketing budget including all brand
associations, was close to 40 per cent of the overall
cost.
 It is only when this 'investment' versus 'expense'
mindset is established that we can say that movie
marketing has really arrived.

90. Lesson 1: Research the competition
 Competitor research does not have to be thought of as
―guerrilla warfare‖. In Film industries, competitors work
together by partnering, cross promoting, sending business
to each other, or even manufacturing each other‘s
projects.

91. Lesson 2: Know your customers’ values
 Understand that price is not the only important factor for
the targeted market. Based on experience and customer
research, they recognized that other concerns besides
price played a part when the story and themeline Speaks.
 While price is almost certainly a consideration for your
customers, don‘t get caught in the mentality that
customers will buy from you only if you have the lowest
cost. If you think of your own service/product as a
bundle of attributes having a unique value for your
customers, you will be more successful.

92. Lesson 3: Identify opportunities
Charlie and Phil uncovered an unmet need in the market by
combining their competitor research and knowledge of
customer values. You can do the same when looking to
develop new products/services or improve existing ones.

93. Lesson 4: Develop a positioning based on opportunity
Using knowledge from the first three lessons, they
positioned themselves as the quality alternative and
focused on providing different benefits than their nearest
competitor. In the movie, Daddy Daycare stole all the
competitor‘s customers and drove her out of business.
 In real life, customers choose a product/service that best
fits their needs. Consequently, competitors can co-exist
when each are valuable in different ways to industry
customers.

94.  Lesson 5: Create a catchy tag line
 The tag line ―Who‘s your Daddy?‖ helped
advertise the new business. Often, a concise,
catchy tag line can go a long way in building brand
equity, communicating benefits and features,
and/or conveying a feeling/mentality your target
customers can relate to.
 Some examples:
 ―Just do it.‖ (Nike)
 ―Life Unscripted‖ (TLC)
 ―Naturally sweetened whole grain oat cereal with
real berries.‖ (Berry Burst Cheerios)
 ―Makes anything possible.‖ (Craftsman)

95.  Lesson 6: Spread the Word
Phil and Charlie put their tag line on t-shirts along with
their business name. They also printed and distributed
flyers that explained their new company‘s positioning.
A few more ideas you can use to spread the word about
your business:
 Word of mouth – give customers an incentive to tell
people about your business.
 Advertising – use both online and offline methods.
Online options include pay-per-click search engines
and ezine advertisements. Offline methods include
radio spots and newspaper advertisements.
 Philanthropy – donate money, services, and/or time to
non-profit organizations or conduct your own event.

96.  Lesson 7: Be ethical and above-board
The new business owners cooperated fully with the
daycare inspector. They treated him as a source of
information rather than ―Big Brother‖. This resulted in
not only a better business, but also a valuable ally. In
the long run, your own company will be more likely to
thrive if you concentrate on improving the business
rather than dodging regulations.
 Lesson 7A: Subterfuge is a poor long-term strategy
Besides being unethical, subterfuge soils your
reputation. In the movie, the competing daycare
crashed and ruined a fundraiser event…spilling bugs,
freeing animals, and drenching visitors. Short-term, it
worked. Phil and Charlie were broke, seemingly with

97. Lesson 8: Implement until you’re blue in the face
 In the beginning, the new Daddy Daycare was a complete
disaster. Charlie and Phil did their ―homework‖ and knew
they had a good idea. When reality hit theory, however, a
few not-so-minor details got in the way. Like all
successful marketers, they worked out the kinks
(okay…disasters) and kept trying (and trying, andtrying)
until they got it right.
 Keep the Daddy Daycare lessons in mind when
developing and implementing your own marketing plan.
Don‘t give up, strive to continually improve, and you‘re
business is sure to be a success.

98. To Conclude,
Consuming film can alter mood, change
perspective, irritate and annoy us, but we
are never exactly the same having
consumed a film.