The film marketing of the Lunar New year campaign decided on the box office results in the first weekend.

whether the box office is good or not, marketing is very important, which is the consensus of the film industry. & the marketing of ldquo; movies has created a reputation in advance. & rdquo; film critic Zhou Liming told reporters that & ldquo; can at least trick the first audience into entering the market according to the market rules of success or failure at the box office in the previous two weeks, which is large enough to guarantee the film's basic box office revenue.

thus it can be seen that the movie box office war is to a large extent a film marketing war. Especially in the Lunar New year when more than 50 films are fighting together, the battle is bound to be extremely fierce. "Zhao's Orphan" packed the literary and art films into a blockbuster style of ancient costumes; "Let the bullets fly" spent 50 million yuan for publicity and distribution; "laughing rivers and lakes" focused on the northern market; "if you are the one 2" brought Feng's brand to the extreme. Each of the four blockbusters made a big fuss in marketing and made a lot of money at the box office-mdash;— 's "laughter" reached more than 100 million yuan in two weeks, "Zhao's Orphan" reached 180 million yuan in two weeks, "bullet" passed 400 million yuan in 11 days, and "if you are the one" reached 200 million yuan a week.

It is an accepted fact that

marketing efforts are proportional to the film's box office. However, people in the industry generally believe that domestic film marketing is still in its infancy, there is no concept of integrated marketing, the most is to learn the surface of Hollywood. One of the strange phenomena is that the publicity investment of the film determines the trend of the box office to a large extent, but the latter sometimes has nothing to do with word-of-mouth and quality.

strong > & ldquo; bullet & rdquo; hard, & ldquo; Zhao Gu & rdquo; soft / strong >

in October, two months before the release of bullet, billboards in front of subway and bus stops in Beijing and Shanghai have been erected & the poster column of ldquo; Jiang Wen, Ge You and Chow Yun Fat. Open newspapers, magazines, turn on the TV, "bullets" advertisements everywhere, everywhere.

& if ldquo; is to sell well at the box office, this film must have a certain degree of recognition. Ma Ke, producer of rdquo; bullets, said in an interview with this newspaper. Before formulating the marketing strategy, he calculated that in order to recover the cost of the ldquo; bullet, at least 20 million people would have to buy tickets to watch it, which would have to cover 200 million advertisements at a 10% conversion rate. & rdquo;

like Jiang Wen's movies, the marketing of bullets is tough. Earlier this year, Mark announced that the film would be released on December 16, setting an early New year for ldquo; and rdquo;. In the six-month publicity cycle, the "bullet" publicity method covers all the mainstream media, including the Internet, television, newspapers and magazines, radio, etc., to achieve the real sense-ldquo; publicized & rdquo;.

as a matter of fact, the scale of such a large-scale publicity is all real money. Mark admitted that the publicity cost of "bullet" was as high as 50 million yuan, accounting for 1/3 of the film's 150 million yuan investment, setting a precedent for domestic films. & ldquo; does not have a box office of 400 million, which is a cost that cannot be recovered. Before the release of the rdquo; film, Zhou Liming worried that the full-coverage promotion of "bullets" was dangerously expensive. & ldquo; in Hollywood, it is normal for publicity to account for 1/3. But in China, for a film with a production cost of 100 million yuan, the publicity fee is 20 to 30 million yuan at most & rdquo;.

& ldquo; "bullet" has its own weakness, and Jiang Wen's popularity is not enough. & rdquo; Mark explains why it is necessary to promote high-density advertising strategy. Zhou Liming gives a further example: & ldquo; Jiang Wen, although he has a good reputation, has transformed into a director; Chow Yun-fat is famous, but he may not have the market support power; and Ge You's repeated appearances in the Lunar New year holiday can no longer be regarded as a selling point. "bullet" is not a sequel, the story has no foundation, let alone a head, is the most difficult to market. & rdquo; therefore, the marketing method of "bullet" can only spend money, shop floor, and change recognition.

compared with bullet, the marketing strategy of the other three blockbusters during the Lunar New year is easier and ldquo; is soft-rdquo; a lot. From Zhou Liming's point of view, each of them is clever. & the selling points of ldquo; 's "Big laughter" are Zhao Benshan and Xiao Shenyang, with a clear market positioning. It chooses to share the stage with Chen Kaige's "Zhao Orphan" to form a win-win situation. & rdquo; Zhou Liming admitted that the two films have a great contrast between sadness and joy, and their styles complement each other. Those who like Chen Kaige don't necessarily like Zhao Benshan. There is no direct conflict between the two films. & ldquo; if you are the one and if you are the one together, there must be conflict, because it is both comedies and the audience will struggle. & rdquo;

in addition, the technique of "laughing" is also worth pondering. It is the only blockbuster that does not set the number of film critics. & ldquo; word-of-mouth is in the hands of a small number of elites, film critics are certainly not the audience of "laughing", but will form negative publicity. & rdquo; Zhou Liming said that, on the contrary, "Zhao's Orphan" is the product of many film critics. Zhao's Orphan moved its release date to December 4, which was originally scheduled for December 18. It is also wise to avoid colliding with rdquo; 's bullet, which is the same as ldquo;, and to choose to fight with Big laughter. As for "if you are the one 2", & ldquo; its marketing can be said to be the easiest, because Feng's comedy has formed a brand effect. & rdquo; therefore, Feng Xiaogang's marketing can be very soft, only the placement of advertising to recover the cost of 60 million yuan.

strong > only promotion, not marketing / strong >

& the marketing of ldquo; films determines the box office results of the first weekend. & rdquo; Mark spoke bluntly. Although the film's quality and word-of-mouth rebound determine the overall box office trend of the film from week 4 to week 6, which is the key to whether a film can be defined & ldquo; superbox office & rdquo;, but according to the market rules of success or failure at the box office in the first two weeks, the marketing strategy will not change.

word-of-mouth is good, and examples of box office fiasco abound. & ldquo; "Zhiming and Chunjiao" and "I am a vegetable" films are not bad, they just fail because they do not know how to sell or have no marketing. & rdquo; Zhou Liming explained that these films have not had a chance to form a word-of-mouth effect and are often forced to go offline early because of the poor box office in the first weekend. This year, it is recognized that the most failed marketing example in the circle is "Sword Rain" produced by John Woo. At first, the film put too much emphasis on John Woo's works, and later on, Su Zhaobin was the real director, so that he could not rely on either side. The deadliest thing is that it chose the same period as the Love of the Hawthorn Tree, Inception and the Empire of Di Renjie, whose brilliance has long been covered up.

since the beginning of the film market in China, producers have gradually realized the importance of marketing, which is also a great progress in drawing lessons from Hollywood's industrialization model. How to publicize the film well is the most basic proposition that the film faces besides production. But it is undeniable that ldquo; Chinese films and marketing strategies are in the initial stage. & so says rdquo; Mark.

& ldquo; compared with Hollywood, the domestic publicity is to find a point, with a few cards in hand to do publicity around it. & rdquo; Zhou Liming admitted that the publicity effect of domestic blockbusters is largely caused by the popularity of the media rather than by marketing means. In Hollywood, on the contrary, the media usually wait for word-of-mouth to follow up. Therefore, Hollywood's marketing methods should be more mature and diversified.

& ldquo; can say that Hollywood movie marketing has entered the era of Web 2.0. & rdquo; Zhou Liming cited that the Dark Knight uses a virtual and real interactive website marketing platform. Warner Bros. has designed nearly 30 websites related to the plot of the film, including Gotham police station, railroad company, taxi company, bank, church, newspaper, television station, etc., covering all aspects of city life. & ldquo; Virtual & rdquo; 's Gotham Cable News even makes talk shows around Batman, & ldquo; Joker & rdquo; and other movie characters with a surprising degree of realism. The small-budget film "Blair the Witch" is also a successful marketing case with the help of the Internet. It packaged itself as a documentary, took advantage of people's curiosity, deliberately confused virtual with reality, and made hundreds of millions of dollars at the box office at a low cost of $1 million by creating hot topics.

Chinese movies have only scratched the surface of Hollywood marketing so far. When the media resources are too concentrated on one or more films, the negative impact of large-scale and large-scale bomber marketing can not be ignored. & the word-of-mouth of a ldquo; blockbuster is often out of proportion to the box office. In an interview with this newspaper, Bi Chenggong, a rdquo; film critic, cited last year's New year's blockbuster, & ldquo; 's "October besieged Fortress" and "three-shot surprise" grossed 290 million yuan and 240 million yuan respectively. In the case of basically equal publicity, the quality of word-of-mouth causes the total box office to rise and fall by 10% at most; according to this logic, it is not difficult to understand that the former is only tens of millions more than the latter.

& ldquo; in fact, I think the latter accounts for most of the contribution of marketing and film quality to the box office. The quality of the film determines the revenue of the film in the later stage. & rdquo; Mark told reporters. Zhou Liming agrees that marketing is important, but word-of-mouth is the king of the box office.