Trailers Sell Popcorn: Marketing 2008's Summer Blockbuster

It is undeniable that the summer blockbuster, for better or for worse, has become a staple of modern Hollywood cinema. Every summer without fail audiences pack the theaters in anticipation of the next action flick or mega-sequel to help quell the summer heat. The impact of big budget action films like Independence Day, released Fourth of July weekend in 1996, has reverberated throughout the industry, impacting the way studios market their films. While over time these films may have faded in quality and originality, the box office numbers have not. Since 1995, ten of the thirteen top grossing films each year came out between May and July, according to data from box office site The Numbers. As the season approaches, 2008 appears to be no different. The release schedule is littered with blockbusters and already trailers have been released to build buzz among film fans. One common thread in some of the most anticipated films of this upcoming summer is the presence of sequels and adaptations, specifically comic book films. Ever since Spiderman made spandex cool again in the summer of 2002, studios have been racing to find the next hit comic franchise, and this summer is no different. While it may seem easier to advertise a character that audiences are more familiar with, these films demonstrate some of the more creative and unique tactics used to repackage their story to obtain the widest audience possible. This is demonstrated quite clearly in the film's first trailers, one of the most important aspect of a films marketing campaign.

The phrase "highly anticipated" has perhaps never been truer than for the first film, Indiana Jones and The Kingdom of the Crystal Skull. The fourth film in Steven Spielberg and George Lucas' legendary series is finally set for release May 22nd, just over 19 years since the series' third installment. In a recent poll by online movie ticket service Fandango, Crystal Skull crushed the competition to be named Most Anticipated Summer 2008 Movie. Being such a familiar character, it is no surprise that the trailer plays heavily on what the audience already knows about the titular hero. The trailer opens with brief recaps of Indy's previous feats, and it is not long before the familiar theme hits and the action is on. The trailer's "guess who's back" theme mirrors the return of Harrison Ford to the character. This is just a part of what SlashFilm writer Peter Sciretta describes as a classic feeling. Though it is clear that this film's rich history will insure a huge audience regardless, the trailer does a great job of playing heavily on the past, with just a hint of what is to come.

Coming in second in that Fandango poll, The Dark Knight is this summer's sequel to 2005's Batman reboot Batman Begins. Here is a strong example of a film with an established fanbase and legend, through both its comic origins, multiple previous movie incarnations, and the hit film that directly spawned it. While these facts may make selling the film seem easier, marketers are still met with the challenge of creating a new and unique story for its beloved character, allowing it to stand out in an era of countless forgettable sequels. As the trailer shows, director Christopher Nolan has painted a darker picture of its hero, and reflected it in his nemesis. Complete with dark images and haunting voice over, it is made very clear that Batman's struggle in this film will be both with the Joker, as well as within. The trailer is strong because it recognizes that there is no need to explain the character of Batman. Instead, the trailer creates a cacophony of destruction by Heath Ledger's Joker character, which serves to both show off the films scope, as well as show the inclusion of a character that the audience is familiar with from Jack Nicholson's portrayal in the 1989 version.

The next film is a unique and enigmatic one, because rather than a new story or a sequel it serves as a reboot for a franchise. The Incredible Hulk marks a new start for the classic Marvel character, and comes on the heels of Hulk, the first attempt that ultimately failed to reach audiences in 2003. Because of this, much more weight must be placed on promoting the film in a new and interesting way that remains true to the tale, while creating a fresh enough take to gain viewers. The trailer begins, fittingly, with Edward Norton, who wrote the film's screenplay, and is many ways has become the face of this new version. His extensive film career has earned him much praise, and by using his face first and foremost, he provides the production with credibility. It is also interesting to note the manner in which the trailer holds back The Hulk, not revealing him fully until the final moments. This serves as a slow dramatic reveal, as well as to tell audiences that this film does feature human character elements as well, something some reviewers found lacking from Ang Lee's 2003 version.

These three examples demonstrate just a few of the strategies used to repackage and remarket familiar characters to snag audiences. It would be very easy for any of these films to simply release their films on name and previous incarnations alone, but as the three trailers demonstrate, the marketing is much more complex. In this modern film era with dozens of films jockeying for the top spot not only weekly but across the entire summer, advertisers have learned that they need to create intricate and original campaigns to keep audiences coming back for more popcorn, time after time.

Why So Serious: Questioning Marketing in the Face of Real Tragedy

It is no stretch to say that the movie business today is controlled by the almighty dollar. In an industry where films can be sold and produced before a script is even written, the question has become "is it profitable?" rather than "is it good?" The way a film is marketed and sold to audiences is now just as important as the film's plot and performances. Although this has become the status quo, what happens when a studio's ability to market a film is hampered by unthinkable tragedy? This is exactly the dilemma that one major studios faces with their upcoming summer blockbuster.

Actor Heath Ledger passed away on January 22nd, 2008. At first thought to be a suicide, it was later ruled an accidental overdose as reported by Guardian Unlimited Film. The Dark Knight, the final film Ledger completed before his untimely death, is a sequel to 2005's re-imagining of the classic Batman tale, Batman Begins. The Dark Knight is slated for a July 2008 release and was shaping up to be one of the most anticipated film of the summer. But what impact does the tragic event have on selling this big-budget Hollywood action film? In the wake of Ledger's death, issues have arisen on the proper way to continue marketing the film, and this reveals and exposes many aspects of the cash-first, taste-later industry that has continued to grow over the past few years.

In order to better analyze the current situation, one must first explore the campaign as it has evolved so far. One of the newest trends in Hollywood is viral marketing. These campaigns utilize alternate mediums, specifically the internet, to provide additional components to the viewer's film experience. Most recently this proved successful with Cloverfield, the latest J.J. Abrams film, that utilized months of viral marketing such as hints and clues hidden on the internet and became number one at the box office in its opening weekend. The campaign for The Dark Knight began over a year before the film's release last May. Utilizing fake internet sites such a IBelieveinHarveyDent.com, a faux political campaign for one character, and Thegothamtimes.com, a fictional newspaper, buzz across the internet started very early for the film. While these sites stirred up interest, it became clear the campaign would be focused on what fan's really wanted to see, Ledger's portrayal of the legendary character The Joker, once portrayed by Jack Nicholson in the 1989 version of the film. Questions regarding the casting of Ledger arose, most of which came from comic book fanboys who refused to see Brokeback Mountain, but excitement grew as the campaign developed. The sites previously mentioned now featured defaced versions, suggesting that the Joker had destroyed them, as Thehahahatimes.com demonstrates. The popularity of the character as well as the buzz over Ledger's performance, explored here in The O.C. Register, made it evident early on that it would be the focus of the campaign, but this was ultimately brought to a halt with his death last month. The issue that arose was based not so much on Ledger's involvement, but rather the content of the marketing.

It only made sense that director Christopher Nolan's dark retelling of the Batman saga would feature a dark characterization of the Joker. The image at the top of the post is one of the first poster's released for the film. Featuring an ominous, and strangely recognizable, character behind a pane of glass, the words "why so serious?" are messily scribbled in red. The image is haunting and alarming at first, and becomes even more disturbing after Ledger's overdose. It was reported in many outlets, including the entertainment website Monsters and Critics, that the role was very taxing, both emotionally and physically, for Ledger. Clearly the role is twisted and dark, but did it force Ledger into a downward spiral that ultimately caused his death? Unfortunately, the audience and his fans will never know, and I think it is ultimately inappropriate for anyone to speculate.

The question arises just how Warner Brothers is to proceed from this unfortunate point. They have created a brilliant campaign, however, it happens to be feature an psychotic villain, portrayed by a beloved actor who just died due to usage of controlled substances. In a January 24th Wall Street Journal article, "a spokeswoman for Warner Bros., a unit of Time Warner Inc., said the marketing campaign was continuing but declined to comment further." The issue of business versus personal becomes an interesting one, and reveals what I think to be an intriguing social construct. Of course Warner Brothers wants their film to be successful, sell movie tickets, toys, lunchboxes and all kinds of other merchandising, but at what point does this become exploitation of a man's untimely death. While some "trade papers speculate[s] that the marketing campaign will be changed abruptly," I believe that changing the campaign at this point would be damaging both to the film as well as Ledger's legacy. While many will hypothesize as to how much the role led to Ledger's personal issues, the truth is no one will ever know for sure. The filming and initial marketing was completed before his death, and this is clearly the original intentions of the producers and director. To change their vision, as well as Ledger's vision in the role, is like going back and attempting to erase pen with a pencil eraser. What is done is done, and while unfortunate, is something no one could have anticipated. While continuing the market the film is this manner could be seen as cashing in on tragedy, I agree rather with a Warner representative quoted in a Slate Magazine article by Kim Masters: "'You don't want people to think you're exploiting his death," the source explains. "But his character is part of the movie, and he was on board with wanting to do this with his character."'

Ledger's tragic and untimely death marked a real loss for the entire movie industry. The promising young actor was still on the rise, creating new and interesting characters for his audience. His involvement in The Dark Knight is rumored to some of his best, and though the issue is delicate, his overdose should not lead to a complete marketing overhaul. Although I personally believe the best way to honor the actor would be to keep the images and campaign as they were originally intended, do not be surprised to see a few more Batman-focused posters to appear, such as the one at the right.