Things to Consider




Reviews
To a certain extent distributors can
control criticisms and reviews using EPKs
and junkets. However, despite criticism,
films still have the capability to earn
money.
Pearl Harbour, Planet of the Apes and Lara
Croft: Tomb Raider were all heavily
criticised and were considered to be
‘flops’ but they did make a considerable
amount of money at the box office.
It is documented that some major studios
stage false interviews and reviews in
order to maintain their audiences.
CASE STUDY
Donnie Darko (2001)
Donnie Darko



This film was a successful attempt by a
small, enterprising, independent UK
distributor to market a US ‘indie, arthouse’ film to British audiences.
The company was Metrodome, a company
that usually plays to niche audiences.
Only one of the films they distribute per
year is likely to be a hit.
Donnie Darko


The film was first screened at the Sundance festival but
was a disappointment to ‘indie’ audiences because of its
sci-fi esque special effects and its inclusion of Patrick
Swayze in the cast. Audiences expected it to be a more
alternative experience, outside of the Hollywood format.
US distributor then targetted the mainstream, teenage
horror, multiplex audience and the film was set for
exhibition on Halloween 2001. This also flopped because
audiences were expecting a slasher movie.
Donnie Darko


The ‘word of mouth’ on the film was mainly
negative and it was released only one month after
Sept 11th. This was badly timed as one of the
main sequences of the film involves a plane
crash.
Price for UK distribution rights fell from £1
million to £100,000. Metrodome bought it,
recognising that the film had bee mishandled in
the US.
UK Distribution



Press support was vital as Metrodome did not have
the cash for an expensive marketing campaign.
The film was screened to various industry
audiences and received favourable comments from
broadsheets and the radio. These reached the
intended audience.
This encouraged Metrodome to expand their
budget to arrange for repeat screenings for film
magazines.
UK Distribution
“the best film of the year.” Radio 1
 “Genius…film of the year.” Total Film
 “Restores faith in the US indie scene.” Uncut
 Metrodome positioned the film
as a “twisted, clever,
genre-defying, late-night,
cult, up-market,
review-led movie.”

UK Distribution


The distributor spent £80,000 on advertising the
film compared to the £2,200,000 spent on My Big
Fat Greek Wedding.
Metrodome recognised the potential in the film to
be a cross-over movie. It would be able to be
screened to multiplex audiences as well as arthouse audiences. In order to appeal to both it
needed a national advertising campaign.
Campaigns
London Underground
 £15,000 was spent on this campaign which ran for a
month. The poster for this included press endorsements
and quotes from film magazines, together with a
venue strip of where the film would be playing.
It also contained a quote from the BBFC which warned
that the film contained ‘strong language and
psychological horror’. This worked in the film’s favour
as it attracted the desired audience and suggested
that the film was not mainstream.

Campaigns

Main Poster
These changed the image from ‘scary cinema’ to ‘odd,
surreal cinema’. There was also a quotation from
Jonathon Ross which stated that the film was not too
art-house.
Guerilla Marketing
This is illegal but does happen. It involves street level
advertising using graffiti, fly posters and leaflets. This
is cheap as well as effective.
Publicity



Due to a limited budget cast support was vital for publicity.
A PR company was helped to position the cast and director for
the Press. Patrick Swayze, one of the guest stars, was too busy
as was Drew Barrymore who, despite being a producer for the
film, was too involved in Charlie’s Angels commitments.
However, Jake Gyllenhaal, the male lead, was in London at the
time and was able to give interviews.
The director, Richard Kelly, was flown over from the US for
mini-junkets and the 1980s themed premiere went well despite
no stars being present.
UK Exhibition
Opening
It opened on 30 screens across the UK on Halloween
2002, a full year after its US debut. Most
blockbusters have 400 screens, art-house films are
given four or five.
 Screen average
This is the average no. of tickets sold per screen. The
screen average for Donnie Darko was excellent and
second only to XXX. Metrodome resisted the impulse
to open the film to more screens.

UK Exhibition

Video and DVD sales
The film took £1.6 million at the UK box office, 3
times what was expected. The video/DVD went on
sale in May 2003.
The special features available were stressed in new
ads in Total Film, Hotdog and Uncut to target fans.
There was also a promotional tie-in with HMV
offering a limited edition sleeve and art cards.
Metrodome, at this stage, could take 85% of profits.
UK Exhibition



Television Rights
Metrodome sold the TV rights to the BBC for
£250,000. Metrodome received 50% of this.
The total amount of revenue for the film was just
under $2 million. This offset the other 11 films that
were distributed by the company that year that had
flopped.