Elysium: Proof that concept marketing doesn't work

On Thursday 9th May, I wrote a reaction commentary to an intriguing article found in Variety. The original piece explored the notion that studios are favouring a more concept-driven marketing approach for major summer tent-poles as opposed to campaigns driven primarily by star-power and narrative.

"The idea is to sell a film initially based on a concept", says Par domestic marketing and distrib prexy Megan Colligan.

The article focused on blockbuster hopefuls such as World War Z, The Lone Ranger and Elysium (see right). It claimed that setting an "iconic" tone was the most important aspect of selling these movies.

I disagreed with this notion at the time of the article's publishing but opted to reserve overall judgement until sufficient box-office numbers were available.

Elysium  is the last of this year's summer tent-poles to implement this marketing strategy. It was released in the US on 9th August and is due for release in the UK on 21st August 2013.

Interestingly, the film's marketing campaign has completely transformed in recent months, there is now less focus on concept and more on star power and narrative. Aside from it being a drastic tactical change, it does suggest that recent box-office disappointments have exposed the flaws within the concept marketing strategy.

Luckily for Sony, the film's distributor, there was still time to adapt and refine their campaign, which would allow them an opportunity to exploit the film's assets and hopefully avoid becoming an expensive box-office casualty, like Disney's The Lone Ranger.

This article will seek to explore these flaws and the subsequent risks that accompany such an ambitious yet inconsistent style of movie marketing.

Commentary: A Reaction to the shift in Tentpole Movie Marketing in Hollywood

Last week, Variety published a brief article about the state of film marketing in Hollywood. The fascinating piece explored the thought-provoking notion that concept is now bigger than star-power, which indicates a major shift in the necessity of A-List stars fronting big-budget blockbusters.

"The idea is to sell a film initially based on a concept", says Par domestic marketing and distrib prexy Megan Colligan.

Main theatrical poster for Oblivion

Ten years ago it would have been unfathomable for Tom Cruise not to feature in almost the entire marketing campaign for his latest blockbuster; however, times have changed.

Coming off the back of his biggest success to-date (Mission: Impossible Ghost Protocol), Cruise's next major release was Oblivion, a big budget sci-fi film from the director of Tron:Legacy. There was immense pressure on Cruise to deliver another major hit and reassert his dominance as an unrivalled global box-office star. However, this was somewhat contradicted by his presence within the marketing campaign being strangely understated.

World War Z

The problems surrounding the entire production of World War Z have been very well documented over the last year. The expensive adaptation of Max Brooks' best-selling novel has been hampered by lengthy re-writes, on-set feuds, re-shoots and a reported budget in excess of $400 million. All of which have contributed to audience expectations becoming virtually non-existent.

It also appears as though the marketing campaign for the movie is just as muddled, which is evident from the two one-sheets currently doing the rounds:

The first one is arguably the main theatrical poster and focuses on the film's leading man, Brad Pitt, as he surveys the apocalyptic carnage from the safety of a helicopter.