Press and entertainment marketing in the 2.0 era

A few weeks ago the opportunity to work with a great producer of lyrical shows presented itself and our first reaction was one of euphoria to fall into a silent reflection: “We have no idea of ​​shows”.

The thought raced through the steps of our company until it reached the great thinking heads of MD. The order was direct and firm: to work.
Without much UAE Phone Number List background plate, the first thing we used was past experiences to define a technique before the supposed steps that we should use. Common sense through, we are dedicated to filling out the “things to do” sheet: Facebook , G +, Twitter, YouTube, with SEO and SEM through. What would we do with each one? Facebook would be the usual multimedia and text hub, sharing not just news, but long-term conversations as well. Twitter would be our news center, as always, seeking interaction with those artists who already have access to this medium. For YouTube we didn’t have much to think about: videos and interviews.

It sounds simple, but I recently realized that it wasn’t. In a conversation with a well-known Argentine producer and director based in Paris, I came to the conclusion that strategic thinking was the protagonist of this development: simple, yes, but rooted in the idea of ​​a pre-assembled structure that had to be filled in with the obvious. : knowledge of the product and customers. If, for example, a new play is going to be premiered in a theater, you should take into account the following: the prestige of the place, the actors and the director, plus the content of the play (what positive aspects it has). It should also take into account the market and the interest of the public … this sounds like something to me … ah yes … SWOT analysis.

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So what is the formula? Everything is a product. Absolutely everything. If you want to sell, you have to analyze it as such and produce quality marketing based on the theories that we all know.

We attack from the press with word of mouth, what means? Twitter and Facebook. We report on the product: diaries (notes to the director or actors), plus YouTube with material from past plays or interviews. Then “Advertising”: we use word of DE Phone Number mouth to enhance the positive characteristics of the product: does it have a message? Does it have references to the rights of any group? Does it have historical references? And then we see if it agrees with the moment: If it talks about women’s rights, then it is currently on everyone’s lips.

A tip that a film teacher gave me: Make the actors fight, appear in the magazines, love each other, hate each other, something. But attract attention. In the end what the public will remember is whether the product is good or not.

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