Cinema is appealing to a more diverse group of consumers than ever before, making it an attractive platform for many brands to utilize. In order to ensure brands reach and engage their target audience effectively with their cinema promotion, there are certain consumer trends to be kept in mind, considering their potential impact on the outcome of a campaign.
The following article was published on LinkedIn by Casey Story – Organization Development Professional | Learning & Development Specialist | Sales Trainer & Coach
Kurt Wagner from Recode Media wrote an article stating that, “2019 will mark the first-time digital ad spend in the US outpaces TV and print combined.” Marketers will attest to this trend as there is a noticeable change in expectations among clients. Media planning conversations use to focus mostly around aspects including: Audience, engagement, reach, recall, like-ability, however the stakes have been shifting since 2008. Which most will remember as the year we all started walking around with cash registers in our pockets (personal smartphones).
Shifting of expectations from brands are steering agencies and media sales professionals to steer towards a ‘Positive Business Outcome’ approach to their media strategy. These teams are now focused on identifying the right consumers, reaching them in the right environment, engaging with them at the right time, and on the right devices to achieve and prove delivery of the KPI’s set forth by their clients.
While digital advertising allows brands to achieve several of these key components in the new outcome-based approach to planning, there are several considerations including: identifying the right consumers, reaching them in the right environment and engaging with them at the right time, that must still be supported by other channels in the traditional media space.
The following are three US consumer trends in 2019/2020 that make cinema advertising a more viable channel than ever to support brand goals:
Subscription Movie Going is Still Alive
Similar to blockbuster, taxi services and the music industry, the movie going industry did not feel a major disruption of their consumer’s expectations for a long period of time. The model was straightforward: negotiate with studios to fill theaters and auditoriums with blockbuster hits, sell tickets and concessions, invest in capital improvements that enhance the overall experience if/when needed. The main purpose was that the content on screen should be enough to encourage consumers to spend $10-20 dollars per ticket to see the films. Here’s where MoviePass makes its entrance.
The long-term arithmetic reflected in MoviePass’ model made it clear that without improved compensation from the circuits, the company was working on both borrowed time and money. As we know, the negotiation never happened, and MoviePass has been written down by its holding company.
The low-cost subscription model that MoviePass introduced however dramatically changed the consumer expectation regarding the cost of going to the movies. For the first time in years the exhibitors (Cinemark, Regal, AMC) have had to adjust their pricing strategy and are introducing subscription plans of their own. These actions have been well received by consumers. AMC recently announced that since launching their Stubbs A-List program (a $19.95 monthly subscription) in June of 2018, they have enrolled over 700,000 members.
This trend is important for advertisers considering cinema campaigns, because the data shows that when consumers have access to lower priced movie tickets, they see more movies. In the same article published in Variety, AMC noted that Stubbs A-List members had accounted for over 14 million movie ticket sales in the same amount of time.
Cinemark, Regal, and regional affiliates throughout the US are all working to finalize or develop their own subscription-based models to adapt to this shift in consumer expectation. What this means for advertisers is that passionate movie goers, those same consumers that drive 73% of spending in the US will be coming out in record numbers to their local movie theaters throughout 2019 because for the first time in years, they have a more affordable way of doing so.
Hollywood’s Franchise Era
The question, “When will Hollywood introduce us to new stories?” often rings in the minds of movie-goers alike. Ben Fritz’s book The Big Picture – The Fight for the Future of Movies answers this and discusses Hollywood’s shift towards the ‘franchise movie model’.
The reality is most consumers want two things when they choose to go to the movies:
Consumers may argue that they would prefer more adult dramas, romantic comedies, horror films, etc. However, the facts (historical ticket sales), reveal otherwise.
Looking at 2019’s slate of films, it is safe to say that we are in the heart of the Hollywood franchise era. The opportunities to experience something larger than life and culturally relevant are already driving record box office sales.
Captain Marvel (2019) made a total of $1,126,129,839 at the Worldwide Box Office. While remakes of popular Disney classics have been making cinema rounds. Classics such as: Dumbo made a total of $347,866,307 since its release in March 2019. Cinema-goers have also witnessed a rise in live-action remakes of popular Disney films this year, with movies such as The Lion King which made a whooping $1,638,761,919 at the box-office (to date). Whereas, the live-action version Aladdin’s live action version made a total of $1,037,017,346 since its release in May 2019.
From the Marvel Universe, the concluding film of the franchise- Avengers: End Game broke records at the box-office banking a total of$2,795,473,000 and continued to run in cinemas for 20 weeks across cinemas in the US.
The last quarter of the year holds great promise for the box office with mega sequels such as Frozen II, Jumanji: The Next Level and the concluding film of the Star Wars series: Star Wars: The Rise of Skywalker soon to release across cinemas worldwide.
Advertisers considering cinema campaigns should look closely at the historical success of the franchise model in domestic ticket sales. In the last four years, the highest grossing movies yearly in the US have come from within a franchise. This trend appears to continue throughout 2019. With the increased occurrence that moviegoers will be visiting theaters due to: Lower priced subscription service tickets and quality of content, advertisers have a unique opportunity to extend their reach among this audience year round.
Content Marketing: A Driving Force for Customer Connections
As digital spending eclipses traditional media spend this year, the digital marketplace has certainly become increasingly noisy. When adopting a positive business outcome marketing strategy, the goal is less about a brand’s ability to yell louder and more often than their competition. The goal, hence must shift, and brands must identify innovative ways to engage with their audience in an authentic manner, a trend that is leading the shift toward content marketing.
There are generally two approaches to developing a content marketing strategy:
When a brand has done well adopting either strategy, they pull their audience to their message instead of simply pushing more content into an already crowded marketplace. The impressions delivered from a content marketing strategy are much more valuable because customers actively seek out the content and actively share the message to other, like-minded, potential consumers.
Cinema is one of the last channels available for brands to tell an authentic story, at scale, in an environment with no ad skipping devices, and in front of consumers looking to be entertained.
Content marketing pieces delivered in this environment cut through the noise. Campaigns resonate with consumers, and the transparency of the cinema platform provides piece of mind for brands seeking to reclaim bot served impressions and eliminate wastage of advertising resources.
Are these trends similar in the Middle East?
Movie Ticket Offers
Leading cinema chains in the Middle East have tied up with mobile network providers (Example – du and Etisalat in UAE), offering cinemagoers to buy one movie ticket and get the other free. Similarly, numerous banks also provide customers a range of Debit and Credit card offers to availing movie-ticket and/or a free upgrade on the size of popcorn and beverages at the candy counter. Certain bank cards also offer moviegoers a buy 1 get one get one free movie ticket deal.
Such offers affirm the fact that when consumers have access to lower priced movie tickets, the frequency of cinema visits increase.
Love for Franchise Films
The craze among movie-goers for popular franchise films isn’t limited to the United States alone. Cinema statistics in the Middle East reveal the love and commitment among movie-goers in the region.
Following are statistics of UAE admissions for MEGA blockbuster franchise films:
Captain Marvel (2019)
Ran for 12 weeks and did over 425K admissions
Dumbo (2019)
Ran for 12 weeks and did over 180K admissions
The Lion King (2019)
Did over 697K admissions in the first 8 weeks since release
*The movie is still screening across select cinemas in the UAE
Avengers: End Game (2019)
Ran for 15 weeks and did over 848K admissions
Cinema Experiences like Never Before
A number of cinema chains in the Middle East offer unique cinema experiences – thus catering to the increasing demand by cinemagoers to watch movies like never-seen before. Audiences can now enjoy the latest blockbusters on mega screens such as IMAX, MAX, Dolby Cinema, nibble on gourmet delights at Dine-in Cinemas or opt for a luxury experience such as Gold by Rhodes, Theatre by Rhodes and Platinum Suites, while lounging in a comfy reclining seats, or dive into action on with 4DX and ScreenX.
VOX Cinemas recently launched a concept of ‘Distraction- Free Cinema’ to ensure cinemagoers immerse themselves entirely in the cinematic experience by tuning out all the distractions from theatres which include: no use of mobile phones or smartwatches, no late arrivals and no guests under the age of 18. Ninja-like staff are on surveillance inside the cinema throughout the screening.
In summary….
As price discovery, consumer targeting capabilities continue to improve the effectiveness of a brand’s digital execution, it’s important for marketers to identify the channels that allow them to reach a brand’s right consumer, in the right environment, at the right time, with a creative and authentic message.
Based on the forecast of movies, the trends in consumer behavior, and a shift in how brands are building relationships with their audience, there has never been a better time to double down in the cinema space.
Source: LinkedIn, Vox.com, AdAge, The Numbers, MVM Statistics
The Terminator first said “I’ll be back” in 1984, and he was right, several times over!
Arnold Schwarzenegger, Linda Hamilton, and franchise co-creator James Cameron will return in Terminator: Dark Fate (a direct sequel to their Terminator 2: Judgment Day), releasing across cinemas in the Middle East on 31st October, 2019.
Watch the trailer of Terminator: Dark Fate:
And now here’s everything we know about Terminator: Dark Fate ….
Plot:
According to Paramount Pictures and 20th Century Fox – 27 years after the events of Terminator 2: Judgment Day, a new, modified liquid metal Terminator (Gabriel Luna) is sent from the future by Skynet in order to terminate Dani Ramos (Natalia Reyes), a hybrid cyborg human (Mackenzie Davis), and her friends. Sarah Connor comes to their aid, as well as the original Terminator, for a fight for the future.
James Cameron – who directed the first two films and produced this one, told The Hollywood Reporter that Terminator: Dark Fate is meant to continue the story from Terminator 1 and Terminator 2.
“And we’re pretending the other films were a bad dream. Or an alternate timeline, which is permissible in our multi-verse. This was really driven more by [director Tim Miller] than anybody, surprisingly, because I came in pretty agnostic about where we took it. The only thing I insisted on was that we somehow revamp it and reinvent it for the 21st century,” said Cameron
Rating:
Terminator: Dark Fate doesn’t have an official rating from the MPAA. However, James Cameron has confirmed that the movie will be Rated R (Restricted).
“I think, tonally, what makes this a direct sequel to T1 and T2 is as much about the tone as it is about the narrative: It’s R rated, it’s grim, it’s gritty, it’s fast, it’s intense, it’s very linear. The whole story takes place in 36 hours. It’s not this kind of grandiose, complex story. It’s just very focused on the characters, it’s very now, it’s very present and it’s just a fast white-knuckle ride,” said James Cameron.
As of now, the rating in the UAE stands at 18+ – subject to change close upon the date of release.
Director:
Tim Miller had a previous career in Visual Effects. His work has been seen in movies such as Thor: The Dark World and David Fincher’s The Girl with the Dragon Tattoo.
Miller made his directorial debut with Deadpool, and had the odds stacked against him. Miller made the project on a modest budget by superhero movie standards, and utilized a character that wasn’t a household name. But all that changed with the first movie, which proved an R-rated superhero blockbuster could make a ton of money at the box office.
Terminator: Dark Fate will be Miller’s second huge feature. On the choice to pivot to such a beloved franchise, Miller states: I think you’d get the same answer from pretty much any nerd you’d ask, which is these movies, because they were the seminal sci-fi movies of the decade when they came out, they had a big influence on a lot of people, especially at my age. Star Wars and Terminator were the two biggest franchises that made me want to get into this. The idea that I could continue this story is unbelievable to me.”
The pressure is certainly on for Miller to deliver on his sophomore run as a director, especially given how much moviegoers love James Cameron’s set of Terminator movies.
Cast:
Sarah Connor – The now 62-year old Linda Hamilton returns as Sarah Connor! She appeared in The Terminator (1984) as the future mother of John Connor (played by Eddie Furlong in Terminator 2), eventual leader of the Resistance in the war against Skynet. But she’s so much more than that. Having started out as a damsel in distress in the 1984 film, she returned in 1991’s classic Terminator 2 as a transformed muscled machine – becoming an action hero icon.
T-800 – 71-year old Arnold Schwarzenegger will return to his T-800 role for this film. Terminator: Dark Fate will see T-800 – who now seems to live in the woods, brought back to help our heroes with their latest mission.
Grace – Mackenzie Davis has another new leading role for the Terminator franchise. The first photo from Terminator: Dark Fate showed markings on Grace’s body. She’s expected to be a ‘soldier-assassin’ – human with cybernetic alterations to better fight terminators. Fans will know Mackenzie Davis from films Blade Runner 2049 and The Martian.
Dani Ramos – Colombian actress Natalia Reyes will play Dani Ramos – one of the new leading roles, a young woman targeted for termination by Rev 9 (a high-tech Terminator similar to the T-1000). There’s speculation that Dani may anchor the Terminator franchise from here, if they do end up making more films. This appears to be Natalia Reyes’ first American role – quite a debut!
Terminator – Actor Gabriel Luna (who played Robbie Reyes/Ghost Rider on ABC’s Marvel’s Agents of S.H.I.E.L.D) will play the villainous Terminator Rev 9 in this film. One of the key things we know about this Terminator is that he has liquid metal capabilities and can duplicate himself.
Might there be a Terminator 7?
The Terminator franchise has nothing official on the books other than Terminator: Dark Fate. However, it has always managed to make a comeback.
There are fans who believe this next film – Terminator: Dark Fate, needs to end the franchise, however, box office will most likely be the deciding factor as to whether there will be a Terminator 7. We’ll just have to wait and see!
Here are some statistics for previous films in the Terminator franchise:
Terminator: Genisys (2015)
Worldwide Box Office – $432,150,894|
UAE – Ran for 8 weeks and did over 235K admissions
Terminator: Salvation (2009)
Worldwide Box Office – $365,491,792
Terminator 3: Rise of The Machines (2003)
Worldwide Box Office – $433,058,296
Terminator 2: Judgement Day (1991)
Worldwide Box Office – $515,419,827
The Terminator (1984)
Worldwide Box Office – $78,019,031
Boxoffice Pro is projecting Terminator: Dark Fate to make between $35-45 Million in its US opening, which would be a great comeback for the Terminator film series since it’s last release in 2015.
Don’t miss out on advertising alongside the latest film from the iconic Terminator franchise. Contact us for cinema advertising opportunities.
Sources: CinemaBlend, Fandom, Digital Trends, The Numbers, The Verge, Collider, IMDb and MVM Analysis
The UN World Food Programme partners with SAWA for yet another global cinema campaign to keep the voice of millions of children alive.
Motivate Val Morgan has joined the next phase of “Feed our Future”, a global cinema campaign that shines light on the United Nations World Food Programme’s (WFP) life-saving work on the frontlines of world hunger.
The ad started screening on Thursday 26th September 2019 across 19 Motivate Val Morgan serviced VOX Cinemas locations in UAE, Qatar and Bahrain, and will run for a period of 8 weeks.
UAE:
Marina Mall (Abu Dhabi), Yas Mall (Abu Dhabi), Nation Towers (Abu Dhabi), Abu Dhabi Mall, Al Jimi Mall, City Centre Ajman, City Centre Sharjah, City Centre Fujairah, Al Hamra Mall (Ras Al Khaimah), City Centre Deira, City Centre Mirdif, Mall of the Emirates, Mercato Mall, Burjuman, Cineplex Grand Hyatt, City Centre Shindagha and Aloft City Centre Deira
Qatar:
Doha Festival City
Bahrain:
The Avenues
Motivate Val Morgan supports the “Feed our Future” cinema campaign as part of a unique partnership between SAWA – Global Cinema Advertising Association, and WFP – leading humanitarian agency fighting hunger worldwide.
The new campaign aims to build on last year’s results that helped to double awareness of WFP among those who saw the ad and raised more than half a million dollars through online giving or through a 38% increase in downloads of the agency’s Share the Meal donation App, globally.
“We have every reason to believe that this year, the Feed our Future campaign is going to take us even further in terms of raising WFP brand visibility and engaging a wider audience in the fight against global hunger,” said Corinne Woods, Chief Marketing Officer at WFP. “We think that this year’s campaign is even more emotionally engaging and we expect more people will respond to our call. In a world full of noise, cinema has proven incredibly effective for us at cutting through to not only establish our brand, but also to convert cinema goers into active supporters and donors.”
“The Cinema Medium makes the most of its space, creative and audience to deliver gripping content, showing consumers advertising at its very best,” said Cheryl Wannell, CEO of SAWA. “In 2020 the Cinema Medium is predicted to become the fastest-growing ad medium ahead of the internet. For brands like the World Food Programme who want to reach the hearts and minds of millennials, the immersive experience that Cinema gives is the most powerful of all storytelling mediums.”
The creative force behind the new advertisement is Sir John Hegarty, of The Garage SOHO, who has delivered a product designed to appeal directly to cinema audiences. The advert highlights the potential lost to the world when children’s voices are silenced due to hunger. The poignant narrative of the ad sees a group of Syrian refugee children who were selected from the local community playing in rubble and gazing out of bombed-out buildings in an apparent war zone. Softly, a small chorus of voices begins singing “How Can I Tell You” by Yusuf Islam/Cat Stevens. As the short film progresses, one by one these children disappear until only one voice remains — an unnerving conclusion that mirrors the harsh realities faced by the 3 million children around the world who lose their lives to hunger or malnutrition.
“Cinema is still the most amazing medium for any creative person to work in. A place for you to tell your story on the ‘mother of all screens’. It’s not surprising that it’s so important and continues to capture the public’s imagination”, said Sir John Hegarty.
For more information about the “Feed Our Future” cinema campaign, and to learn how to get involved in creating a world with Zero Hunger, please visit: www.wfp.org.
Source: SAWA
Related Articles:
SAWA | Feed Our Future | Global Cinema Ad
Serving effective ads which simultaneously enhance viewer experience is a perennial goal of the advertising industry, however in tough times it is often the bottom line that receives all the focus, shuffling consumers down the pecking order. This in turn can raise the risk of customers turning to ad-free subscription services and ad blockers.
Writing exclusively for ExchangeWire – provider of global data and insight on Marketing Technology, Advertising Technology and Programmatic Advertising, Mark Inskip, CEO – Media Division at Kantar, discusses what lessons from cinema advertising can be applied to other platforms in ensuring memorable and fruitful ads, without compromising user engagement.
Those in the ad industry are living in challenging times. Last month’s IPA Bellwether Report showed overall ad spend flatlining, whilst Kantar’s own DIMENSION report of 1,000 connected consumers in the UK revealed that 55% are completely apathetic about advertising.
But it’s far from bad news across the board. Internet spend continues to rocket, and some spheres of advertising remain very much enjoyed and celebrated. Cinema, in particular, is bucking the trend, with 37% of consumers surveyed for DIMENSION saying they actively enjoy advertising at the cinema. That means an appetite still exists for entertaining brand campaigns, and offers interesting insights for brands and marketers looking to get their advertising ‘right’.
So what makes the big screen so successful, and how can we take those learnings to other platforms and touchpoints?
Make it Seamless
Think of the context in which you see cinema ads: plied with popcorn, lights dimming, you know exactly what to expect, when to expect it, and perhaps even how long to expect it for. Indeed, it’s part of the value exchange, in exchange for your ticket, you accept a certain (proportional) amount of advertising.
However, you’d never expect to see the same ad several times, or indeed have your film interrupted at a crucial scene by an irrelevant advert. And yet an enormous 70% of those we surveyed have experienced just that, admitting they’re subjected to the same adverts time and time again. This isn’t just a mild inconvenience, but an issue throughout all platforms and formats. As Video-On-Demand (VOD) grows, for example, we’re seeing more and more broadcasters struggle with the right ratio of ads to content, trying to find a balance between what’s profitable and what’s consumer-friendly. Given repeated negative experiences are damaging to brand reputation, that equilibrium is crucial.
The underlying message here is that context really matters, and that goes beyond just online and video ads. As brands delve deeper into formats like product placement, sponsorship, advertorials and the like, even the more subtle forms of consumer engagement need to be well considered so as not to be jarring.
Ultimately, if we want consumers to move past their apathy and actually engage with ads rather than avoid them, it’s crucial we approach at the right place and time, and the right frequency, so we’re not talking to a brick wall.
Make it Entertaining
Audiences are in fact much more receptive than you might think: a significant 48% of consumers do notice ads on platforms they enjoy using, whilst 41% are more likely to believe advertising that appears near another trusted brand. That means platform, placement, and timing are crucial.
Cinema gets this right. From trailers which make your hair stand on end, to full features in 3D, or even space-aged 4D, cinema elevates films to sensory experiences and takes content to the next level. After all, if it didn’t, you’d stay at home.
Of course, every platform has its own strengths, a one-size-fits all approach won’t do. But if brands can get into the right headspace and engage consumers on their terms, providing top-quality entertainment within the right context, whether an innovative format, interactive experience, or by offering actionable information, their campaigns are far more likely to succeed.
Make it Tailored
You’d never run an 18+ trailer before the screening of a U-rated film. It might sound simple, but this fairly basic level of tailoring and targeting doesn’t always trickle through to the small screen or the browser – leading to irritated consumers at best and brand safety failures at worst if content ends up in the wrong environment. 61% of the consumers we surveyed actively prefer to see ads relevant to their own interests, but the average experience leaves much to be desired. That means there’s a significant discrepancy between what consumers want and what they’re getting.
A key part of the solution is accurate targeting and measurement. To gain insights on how to create seamless, entertaining, useful advertising, brands need to give up guessing and find out exactly who their audiences are and what makes them tick – on as granular a level as possible. That means harnessing detailed customer data or working with a reliable data partner.
A positive feedback loop driven by insights will lead to exponentially better campaigns. Remember, however, that data use must be responsible; with 54% of consumers objecting to targeting based on their past activity, it’s important the value exchange for consumers is made clear so they feel supported, not surveilled.
Curtain Call
Of course, some elements of the big screen experience aren’t easily transported to the home environment, but the message is clear. Producing and serving exciting, entertaining and useful content at the right time, in the right place is key to capturing and keeping eyeballs, and accurate measurement is a key part of making sure we’re going in the right direction.
Getting consumers onside is tough, but in an era where avoiding advertising is perhaps easier than ever, it’s extremely important. Intriguing, delighting and informing is a sure-fire way to neutralise the ongoing impact of adblocking and ad-free subscription services.
Cinema advertising makes the most of its space, creative and audience to deliver gripping content, showing us advertising at its very best. With a little bit of nous, a touch of creative, and top-of-the-class measurement, we can aim to make every ad as good as on the big screen.
Source: ExchangeWire
The world will soon have a new ‘Clown Prince of Crime’ when Joker debuts on 3rd October 2019. This time, he’s a comedian played by Joaquin Phoenix, and he’s ready to turn Gotham City’s frown upside down no matter what it takes.
From its GRITTY and enigmatic trailer, to the buzz created after winning The Golden Lion at the Venice Film Festival – the festival’s highest prize, the stakes are high in terms of audience anticipation.
Produced by DC Film and distributed by Warner Bros. Joker is unlike any other superhero film. Brace yourselves for the brand new take on the Dark Knight’s greatest nemesis, guaranteed to put a ‘smile on your face’.
Watch the trailer of the Joker 2019:
Here’s what you should know about Joker:
Rating:
Joker is the first live-action Batman franchise film to receive an R-rating from the Motion Picture Association of America, due to its strong bloody violence, disturbing behavior, language, and brief sexual images. It can be presumed that the movie’s rating in the Middle East will end up being PG-18 for cinemagoers.
Is this Joker part of DC Comics?
There has been much speculation floating around as to whether the Joker is part of the DC Comic universe. However, director Todd Phillips has made it clear that the movie is a standalone story of the origins of Joker – the criminal mastermind and well-known nemesis of comic superhero Batman (in a never-seen portrait of the man behind the mask).
Joker is closer in spirit and substance to gritty cinematic portraits of antiheroes from the 1970s: Taxi Driver (1976), One Flew Over the Cuckoo’s Nest (1975), Serpico (1973), unlike any other typical modern comic-book movie.
Arthur Fleck (Joker’s real name in this standalone movie) does not align with any origin of the Joker ever published. What bits and pieces we’ve seen from promotional material resists attempts to connect the movie to any one story. It seems to be, by and large, entirely original in a way vanishingly few superhero movies have been.
Set in a ‘broken-down’ Gotham City between late 1970s and early 1980s, Joker shows the progressive evolution of Arthur Fleck, who is a clown-for-hire living with a fragile mother and struggling to keep his own peace of mind. But what’s up with his creepy laugh? Why is he taking care of his mom? We don’t know — and that’s possibly part of what the movie will explore.
*Did you know – This is Joaquin Phoenix’s first role in a comic book film. He previously turned down the title role in Doctor Strange (2016) as well as the chance to replace Edward Norton as the Hulk in The Avengers (2012), because he was unwilling to sign on to the multi-picture deal that Marvel Studios was requiring.
Director
Todd Phillips has directed numerous big hits – of which a majority are comedies. He directed all three of the movies in The Hangover series. With the release of the Joker trailer, many have praised what Phillips has shown thus far, with some even comparing the trailer to the work of legendary director Martin Scorsese. Helping to drive that comparison home is the fact that ‘frequent Scorsese collaborator’ Robert De Niro will be appearing in Joker.
Phillips has a series of blockbusters under his belt and is best known for writing and directing the comedy films. However, for his work on the satirical comedy film Borat (2006), Phillips was nominated for the Academy Award for Best Adapted Screenplay.
The kind of gritty thriller Joker aims to be would be one thing, but what cinematic alchemy might happen when Phillips – who understands what it’s like to be inside Arthur Fleck’s head, is behind the camera? We will just have to wait and find out!
Who are the other characters alongside Joker?
Penny Fleck
Frances Conroy plays Penny Fleck. Penny is Arthur’s mother. She is an older woman whose health is fading, making her practically bed-ridden.
Conroy is best remembered for her role in HBO’s Six Feet Under. More recently, she has appeared in recurring TV roles in Castle Rock, American Horror Story, and Arrested Development.
Murray Franklin
Robert De Niro plays Murray Franklin. Murray is a talk show host on a late-night television program which airs in Gotham. He plays a role in Arthur’s transition from a struggling stand-up comedian into the Joker.
De Niro is a Hollywood legend with a career spanning more than 50 years in movies and television. Roles in films such as Taxi Driver (1976) and Raging Bull (1980) put De Niro on the map. Among his most recent credits are: The Intern (2015), Joy (2015) and Dirty Grandpa (2016), and another collaboration with director Martin Scorsese for The Irishman on Netflix.
Sophie Dumond
Zazie Beetz plays Sophie Dumond. Previously released details about Sophie note that she is a single mother living in Gotham and is a person of interest (possibly a love interest) to Arthur. Sophie is beaten down by life in the city of Gotham and feels as if the system is stacked against her and others in her community.
Beetz is best known for her role on FX’s Atlanta. She has also appeared in Geostorm (2017), Deadpool 2 (2018), and Steven Soderbergh’s High Flying Bird for Netflix
Watch the star cast in the first look of Joker:
Here are some statistics for previous DC Films (distributed by Warner Bros.):
Aquaman (2018)
Worldwide Box Office: $1,146,894,640
UAE Admissions: Ran for 15 weeks and did over 541K admissions
Wonder Woman (2017)
Worldwide Box Office: $821,133,378
UAE Admissions: Ran for 13 weeks and did over 329K admissions
Batman v Superman: Dawn of Justice (2016)
Worldwide Box Office: $867,500,281
UAE Admissions: Ran for 13 weeks and did over 541K admissions
Suicide Squad (2016)
Worldwide Box Office: $746,059,887
UAE Admissions: Ran for 10 weeks and did over 338K admissions
The Dark Knight Rises (2012)
Worldwide Box Office: $1,084,439,099
UAE Admissions: Ran for 11 weeks and did over 338K admissions
Boxoffice Pro is projecting Joker to make $103 million in its US opening. That would be the biggest October opening of all time, beating the record set by Venom (2018).
Motivate Val Morgan forecasts over 300K admissions in the UAE for Joker.
Contact a member of our sales team for cinema advertising opportunities alongside this MEGA Blockbuster.
Sources: ScreenRant, The Numbers, Wikipedia, Looper and Business Insider
AMA International University in Bahrain – a branch of the Philippine-based AMA Computer University, recently booked an integrated cinema campaign with Motivate Val Morgan – through Albayan Media Group, at VOX Cinemas City Centre Bahrain.
On Screen Campaign:
A 15 sec. on screen ad was booked to screen for a period of 4 weeks – from 18th July to 21st August 2019, on Screens 1 and VIP 1.
Off Screen Campaign:
The off screen campaign included two components: an ad on the Giant Screen in the Foyer Area of the cinema from 18th July to 17th October 2019 and a Display set up near Screen 9 in the Concourse Area of the cinema from 11th August to 13th August 2019.
Amplify exposure for your brand by capitalizing on imaginative and exciting promotional ideas to complement on-screen campaigns.
Contact a member of our sales team for similar advertising opportunities in Bahrain and across our circuit in the Middle East.
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Breitling – Swiss luxury watchmaker and Kipling – Belgian fashion brand known for affordable, sporty and functional bags, recently booked cinema campaigns through Motivate Val Morgan at VOX Cinemas – City Centre Bahrain.
Breitling booked a 30 sec. on-screen ad which ran from 24th – 30th August, 2019 on the screen with the largest seating capacity, as well as on the VIP screen.
Taking an integrated approach, Breitling also booked an off-screen campaign from 19th August – 18th September 2019, which included an ad playing on the giant screen in the foyer area of the cinema.
Kipling booked a solely off-screen campaign from 23rd August – 22nd September 2019, which included an ad on the giant screen in the foyer area and on the screens at the back of 5 cinema ticket counters. The ad promotes Kipling’s special offer – receive a gift voucher of BD 10 on every BD 50 spent.
Seeking to amplify exposure for your brand? Adopt similar creative promotional ideas to enhance on-screen campaigns.
Contact us for more information of advertising opportunities across our circuit in the Middle East.
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Abu Dhabi’s biggest VOX Cinemas opens at The Galleria Al Maryah Island
VOX Cinemas has added yet another location to its portfolio in Abu Dhabi. The brand new multiplex at The Galleria Al Maryah Island – located on the fourth floor of the North Atrium, opened its doors to cinemagoers on Thursday 5th September 2019.
VOX Cinemas – The Galleria Al Maryah Island offers an impressive 21 screens with a total seating capacity of 1,738 seats. The cinema is home to Abu Dhabi’s first IMAX screen (next-generation laser projection system to deliver stunning, crystal-clear images on the biggest screens for the world’s most immersive cinematic experience) and also includes Theatre by Rhodes (where fine food meets films) and Kids (designed especially for little movie lovers) screens. It is a cinema for all kinds of moviegoers – families with kids, luxury lovers and experience seekers.
VOX’s homegrown signature F&B outlets – Nutella Bar, Pizza Al Taglio and Kitchen 35, will also be available on site.
“VOX Cinemas continues to provide a compelling attraction for communities and our latest venture on Al Maryah Island is testament to its enduring appeal and success. We cannot wait for movie fans to experience our largest cinema in the capital and enjoy the many immersive cinema concepts we offer, including IMAX with Laser, an unrivalled and unmissable technology in the world of film,” commented Cameron Mitchell, CEO, Majid Al Futtaim Cinemas and Majid Al Futtaim Leisure and Entertainment.
The Galleria Al Maryah Island will reinforce Majid Al Futtaim Cinemas’ status as the fastest growing and most innovative cinema exhibitor in Abu Dhabi. The cinema exhibitor presently operates 440 screens across 44 cinema locations in UAE, Oman, Lebanon, Qatar, Egypt, Bahrain, Kuwait and KSA.
We at Motivate Val Morgan would like to congratulate VOX Cinemas on the opening of the cinema at The Galleria Al Maryah Island, and as the exclusive cinema advertising partner, welcome this new location to our circuit in the UAE.
Contact us for more information on cinema advertising opportunities at VOX Cinemas – The Galleria Al Maryah Island in Abu Dhabi.
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Source: albawaba (Business)
Cinema advertising growth is outpacing all other traditional media, as Netflix’s rise shows no notable impact
The global cinema advertising market is expected to be worth $4.6bn this year, representing a 6.8% rise from 2018. This is ahead of the all media growth forecast by WARC, the international marketing intelligence service, of 4.6% for 2019 (to $624.9bn), and places cinema as the second-fastest growing ad medium this year, behind internet as a whole.
Cinema’s share of global adspend is holding steady
While small, cinema’s 0.7% share of global adspend is expected to hold steady in 2019, making it the only medium other than internet not to lose share. Figures from WARC’s Adspend Database show that cinema’s share of global adspend has dipped only twice since 1980 (1994 and 2013) and growth in cinema ad investment has generally tracked ahead of other traditional media since 1981, and consistently so since 2014.
In Europe, advertisers spend 1.6 times more on cinema per admission than in the US. The UK leads the way, with spend per admission rising from £0.18 in 1980 to £1.43 last year, when 177m admissions were recorded – the highest on record. This despite 46% of UK consumers stating that Netflix is their first choice for watching movies, according to GlobalWebIndex.
China is driving global growth, US brands are under-investing
China is the largest cinema ad market globally, with RMB11.9bn (US$1.8bn) expected to be spent this year. This equates to a 47.3% share of global cinema adspend when measured in Purchasing Power Parity terms. Further, China has accounted for three quarters (74.9%) of global growth in cinema adspend since 2015, on average, and is expected to contribute 87.4% towards global cinema growth this year. IHS figures suggest that the number of cinema screens in China increased by 9,303 in 2018 alone, or 26 per day on average.
In the US, the world’s second-largest cinema market with a projected value of $735m this year, the medium draws less than half a percent (0.4%) of media budgets on average. Seven product categories allocate more than this, most notably food, for which cinema accounts for 1.5% of all media spend. Non-profit (1.0%), telecoms & utilities (0.7%), alcoholic drinks (0.7%), automotive (0.6%), transport & tourism (0.6%) and financial services (0.5%) also record investment levels above the US average.
DCM recommends that brands invest a minimum of 2.7% of budgets in cinema, with some sectors like travel & tourism seeing optimal levels of campaign ROI when allocating as much as 11%.
Attentive audiences ensure cinema ads get noticed in a brand-safe environment, while young audiences have a positive affinity with the medium
Captive audiences viewing high-quality ads in an emotional atmosphere is a draw for advertisers. Research by Ebiquity has found that Cinema outperforms all other media at triggering an emotional response, guaranteeing a safe environment, and getting ads noticed. However, the medium scores lowest in increasing campaign ROI, maximizing campaign reach, and generating short-term sales.
Cinema attracts a younger, more affluent audience who tend to be lighter TV viewers. According to IPA TouchPoints 6, cinema delivers a more positive emotional experience than any other AV channel (84% of time spent at the cinema is associated with positive emotions for 16+ adults, versus 60-65% for live TV, longform VOD and short online video). Kantar Millward Brown has also found that among ‘Gen Z’ (16-19 year-olds), cinema is the most popular traditional advertising medium with 59% feeling ‘positive about it’ (compared to 34% for print, 38% for TV and 50% for outdoor).
Consumers now spend more on streaming movies than visiting the cinema, but Netflix has yet to hit the box office
Data from the Motion Picture Association of America (MPAA) show that the amount consumers spend on digital home entertainment, including on online subscriptions such as Netflix, surpassed the amount spent at the cinema globally for the first-time last year ($42.6bn versus $41.1bn). This landmark had already been reached in the US during 2015.
Over the course of an average year, a Netflix subscription will cost a consumer US$113.16. This compares to the $45.55 a North American will spend at the cinema each year on average, with the equivalent figures for the UK and the EU at $25.13 and $11.04 respectively.
In the US, a moviegoer visited the cinema five times on average in 2018, which roughly equates to 263m consumers going every two months. But with almost three-quarters (74%) of Americans now using an online subscription – and 84% using a pay TV channel – to watch a movie at least 2-3 times each month, viewership in the living room may have reached parity with the silver screen.
James McDonald, Managing Editor, WARC Data, and author of the research, says: “The experiential nature of cinema places it in a different bracket to SVOD services, which instead occupy a similar space to traditional TV. This, coupled with the exclusivity of box office hits – particularly franchises – should ensure any downward pressure from SVOD services is minimal in the short term.
“Cinema offers advertisers access to younger, more affluent audiences who have an affinity with the medium. This enables ads to be screened in a brand safe environment where they will be noticed, often in a location that is close to a retail outlet and, by extension, a point of purchase.”
Global media analysis – Cinema
Other key media intelligence new on WARC Data
Global Ad Trends, a monthly report which draws on WARC’s dataset of advertising and media intelligence to take a holistic view on current industry developments, is part of WARC Data, a dedicated online service featuring current advertising benchmarks, forecasts, data points and trends in media investment and usage.
Download a sample report of WARC’s latest Global Ad Trends report on Cinema.
Source: WARC
Reel Cinemas recently launched 10 new cinema screens at Al Ghurair Centre – giving the neighbourhood a brand-new place to catch the latest blockbuster releases.
Having originally opened to the public with 8 screens back in April 2019, Reel Cinemas now operates 18 screens at Al Ghurair Centre which includes a variety of experiences such as Platinum Suites, Reel Junior for the little ones, an ultra-high-tech premium Dolby Cinema screen and dedicated screens for family-friendly movies.
Cinemagoers will also be able to get their hands on a variety of snacks which include the classics such as popcorn, sweets and soft drinks, plus hot food such as samosas, jalapeño poppers, bhajis, butter chicken fries, and even crêpes.
With the addition of the 10 new screens at Al Ghurair Centre, Reel presently operates 67 screens across 7 locations in the UAE.
Contact us for cinema advertising opportunities at Reel Cinemas.
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Source: Time Out Dubai
