adweek feb 2014

G A M E

F A C E

Oscar!Hell

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UBISOFTS JADE RAYMOND PITCHES THE POWER OF VIDEO GAMES TO SXSW

AND HOLLYWOOD. BY GARETT SLOANE

ContentsFebruary 24

2014

A D W E E K | FEBRUA RY 24, 2 0 14

TECHNOLOGY 20

Game ChangerUbisofts Jade Raymond heads to her rst SXSW, but its Hollywood thats on her mind.

MARKETING 24

Moving PicturesIn the run-up to the Academy Awards, a Q&A with Paramount Pictures CMO Josh Greenstein. Plus, an in-depth look at where the movie studios spend their money, and what they get for it.

FrontTHE WEEK 7 Facebook bags WhatsApp; CBS promotes Nina Tassler; Translation adds new leaders

FIRST MOVER 10Merediths Chip Schenck says despite the rise of programmatic, the role of people remains key.

THE SPOT 12Wieden + Kennedy goes inside the new Honda.

TRENDING TOPICS 14Brands go trolling for fans; All You goes outside Walmart; little hope for looser media- ownership rules.

ACCOUNTS IN REVIEW 16Reebok hires Venables Bell & Partners for global creative.

DATA POINTS 18Men are the new chief purchasing offi cers.

VOICE 19How a little humanity can save marketing.

Subscriptions adweek.com/subscribeU.S. (877) 496-5246; Outside U.S. (845) 267-3007

Back

PORTRAIT 30

Hub StrategySpecializing in early-stage marketing helped win this shop work from Microsoft and Google.

PERSPECTIVE 32

Satisfying StuffSnickers toys with a tagline.

INFODIET 34

Chrissy TeigenThe SI Swimsuit Issue cover model makes time for trashy reality shows when shes not on Twitter.

Dateline:Oscar p. 29

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Moviemanp. 24

4 FEBRUA RY 24, 2 0 14 | A D W E E K

James Cooper EDITORIAL DIRECTOR

Lisa Granatstein MANAGING EDITOR

SENIOR EDITORS Katy Bachman (Washington Bureau Chief) Michael Brgi (Features) Anthony Crupi (Television)

Melissa Hoffmann (Web) Andrew McMains (Agencies) Lucia Moses (Publishing, Data) Tim Nudd (Creative)STAFF WRITERS

Emma Bazilian, Robert Klara, Noreen OLeary, Garett Sloane, Sam ThielmanDIGITAL

GENER AL MANAGER Jeff Rudolf PROJECT MANAGER RJ Cabral ONLINE PRODUCER John TejadaCOPY DESK

SENIOR DESK EDITOR Mike Yuhas SENIOR COPY EDITOR Dan OuelletteART

MANAGING DESIGN DIRECTOR Ron Goodman DESIGN DIRECTOR Carol R. Wells DESIGN DIRECTOR Carrie Gee PHOTO EDITOR Margo Didia DIGITAL DESIGN DIRECTOR Alfred Maskeroni DIGITAL DESIGNER Rachel Cutler

CONTRIBUTORSGabriel Beltrone, Rebecca Cullers, David Gianatasio, David Griner, David Kiefaber,

Danielle Marshall, Carlos Monteiro, T.L. Stanley, Janet Stilson, Joan Voight

Tony CaseEXECUTIVE EDITOR

Stevan KeaneDIRECTOR OF V IDEO

Nick MrozowskiEXECUTIVE CREATIVE DIRECTOR

Christopher HeineDIGITAL EDITOR

Adweek, The Hollywood Reporter, Billboard, Backstage, Film Journal International, CineAsia, CineEurope, ShowEast, The Clios

PROMETHEUS GLOBAL MEDIA

Robert EisenhardtBUSINESS DE VELOPMENT DIRECTOR

(212) 493-4288 [email protected]

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NEW YORK: Rory McAlister (212) 493-4101 [email protected] Daniel McNamee (212) 493-4157 [email protected] CALIFORNIA /PACIFIC NORTHWEST KPA Media, Kim Abramson (415) 705-6772 [email protected]

SOUTHERN CALIFORNIA KPA Media, Theresa Le (310) 234-9809 [email protected] INTEGRATED SALES PLANNER Biz Mulu (212) 493-4206 [email protected] DIGITAL AD OPERATIONS MANAGER Ariel Perallon (212) 493-4414 [email protected]

EXECUTIVE ASSISTANT Dane Jerabek (212) 493-4124 [email protected] SALES ASSISTANT Kenneth Moshensky (212) 493-4068 [email protected]

MARKETING/E VENTSVICE PRESIDENT, MARKETING Liza Kirsh (212) 493-4411 [email protected]

INSIGHTS AND ANALYTICS DIRECTOR Sheron OBrien (212) 493-4438 [email protected] DIRECTOR Emily Chang (212) 493-4192 [email protected]

CUSTOM PUBLISHING DIRECTOR Stuart Feil (212) 493-4171 [email protected] CONTENT STRATEGIST Kolby Yarnell (212) 493-4046 [email protected]

EXECUTIVE VICE PRESIDENT, EVENTS Nicole Purcell (212) 493-4434 [email protected] DIRECTOR, AUDIENCE MARKETING Brooke Barasch 212-493-4036 [email protected]

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PRODUCTION MANAGER Cindee Weiss (212) 493-4233 [email protected] ASSOCIATE PRODUCTION MANAGER Eileen Cotto (212) 493-4228 [email protected]

OPER ATIONSGROUP FINANCE DIRECTOR Akira Sugihara BUSINESS COORDINATOR Timo Wilson

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J. Christopher Roe CHIEF TECHNOLOGY

OFFICER

Rob Schoorl VP, HUMAN

RESOURCES

Michele Singer GENERAL COUNSEL

Alexandra Aguilar HUMAN RESOURCES

DIRECTOR

Meghan Milkowski VP, PRODUCTION

AND CIRCULATION

Sarah Studley CONTROLLER

7A D W E E K | FEBRUA RY 24, 2 0 14

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Headlines From the Week in Media

The SimpsonsTo get Lego makeover for May 4 episode

Jimmy FallonTonight Show debut scores 11.3m viewers

NBCUFails to strike new deal with WWE

Samsung Galaxy ad mercilessly mocks Apple again

ViewersVerizon, Netflix feud slows streaming

Coca-ColaQ4 profits slide as U.S. soda sales fall

UP/DOWN

Amazon reportedly preparing to launch Web TV box in March

Apple founder Steve Jobs to appear on postage stamp in 2015

YouTube redesigns site to match mobile

Time Inc. launches digital sports video programming network 120 Sports

Spark scores ConAgra media business

Yahoo unveils Yahoo Gemini, which pairs mobile search with native advertising

AMIs Muscle & Fitness gets revamp by editor David Zinczenko

Faux gaffes p. 14

You are getting

sleeeepy!

Neil Patrick Harris hams it up ina goofy music video for nutritionalsupplement Neuro Sleep.

8 FEBRUA RY 24, 2 0 14 | A D W E E K

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Heineken targets U.S. soccer fans with Foursquare integration

FCC plans to roll out new net neutrality rules

CBS vet Nina Tassler promoted to chairman of CBS Entertainment

Google, Magna Global strike $100 million upfront deal

Translation hires Toms Nils Peyron as president, TBWA\C\Ds John Norman as CCO

Bravo green-lights Girlfriends Guide to Divorce as first scripted series

Univision launches original Web video unit La Fabrica

Google buys Israeli security startup SlickLogin

Candy Crush les $500 million IPO

Trulia selects Draftfcb San Francisco for rst campaign

Meredith partners with Kiip for branded in-app rewards

Comcast, TWC deal puts Net ix set-top box plans on hold

LinkedIn opens In uencer publishing platform to all members

Facebook pays $16bn (9.6bn) for what Mark Zuckerberg calls incredibly valuable WhatsApp massaging service.BBC News tweet gives the Internet a laugh with its massaging typo.

They made such a monumental error in their approach to feminism It felt gross. Lena Dunham on Jezebel publishing unretouched Vogue photos of the Girls creator/star. (Grantland)

Sam, youre red!Donald Trump delivers his classic line to political consultant Sam Nunberg after BuzzFeeds scathing profile of the real estate mogul. (NYP)

Its about time. Ive been sitting in a taxi outside NBC with the meter running since 1987.Joan Rivers on her return to the Tonight show after longtime ban by johnny carson and jay leno. (THR)

Lisa Granatstein

Shesbaaaa

ck!

Front

10

SpecsAge 43

New gig Vp, programmaticsales and strategy, Meredith

Old gig Vp, publisher, development, PubMatic

FEBRUA RY 24, 2 0 14 | A D W E E K

Theres still a learning curve around programmatic. Do you have an analogy you use to explain it? The Sothebys and Christies one is my favorite. Their job is to solicit as many buyers as they can. Then the piece comes up for bid. Instead of the paddles going up consecutively, all the paddles go up simultaneously in an RTB auction. If you dont get enough bidders, youre going to have an unsuccessful auction. Your ability to add phone and Web means you add more bidders to the auction.

So what does a programmatic sales head do? I think everyone is de ning it a bit differently. Before, I would have said its a form of automation, where buying is assisted with an algorithmic decision engine. Yesterday, I went to a lunch and came out with a simpler de nition: Its anything that allows you to execute in a more operationally ef cient matter and creates ease of use. The technology is changing, so more things are being grouped in the programmatic bucket.

Why does Meredith need someone dedicated to this? As more marketers are asking how to use it for nding audiences at scale, publishers needed to respond. Weve got fantastic data, and it can be used in a variety of different ways.

Whats a speci c example of how itll work for Meredith, which specializes in reaching women? Programmatic has been used to clear remnant inventory. We think it needs to do more. If youre looking for left-handed moms from Indiana, you need a lot of access to scale. We can already do that today; its more about the packaging. You can do three campaigns where the client

is identifying them, were identifying them, or were merging both sets of data or bringing in third-party data.

Salespeople have been wary of programmatic for fear it will erode ad rates and undermine their direct business. How do you resolve that tension? It seems kind of B.S. to say there is no tension, but I havent seen any because of the way Meredith has gone about it. When it warrants, we should have people in the same room together. That makes them feel much more comfortable.

How do you motivate them to sell programmatic when its not as lucrative as direct sales? Were working on it. We want to incentivize our sellers to be as much of the conversation as they have to be.

Some think all buying will become automated some day. Do you agree? Were in a big pendulum swing, and I think thatll continue until the margins cap out. That will be our new Maginot Line. Then, programmatic will nd its place. There will always be a need for sellers. At the end of the day, there are still rules that need to be put in place by a person, and that takes conversation.

Your father was on the publishing side. Do you have any nostalgia for the old days of advertising? In my dads day, it was the three-martini lunch. Maybe the new three-martini lunch is Google and Rubicon throwing these outrageous parties at trade shows. Maybe people will look back and say, I miss those concerts. The only thing I dont like about our industry is, people dont listen as much. The agency side is completely overworked, plans are spit out of a box, a lot of conversations with buyers go straight to price.

Isnt that what programmatic is all about? Thats what it started as. But if there can be conversation about client goals, thats where I think it gets exciting. I see it as morphing into more than just a price-sensitive opportunity. Lucia Moses

The only thing I dont like about our industry is, people dont listen as much.

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Merediths programmatic chief says there will always be a need for human sellers.

Chip SchenckFirst Mover

Front

12 FEBRUA RY 24, 2 0 14 | A D W E E K

SpecsClient Honda

Agency Wieden + Kennedy, LondonDirectors Smith & Foulkes, Nexus

Editor Paul Hardcastle, TrimEffects Time Based Arts

(See the spot and full credits at Adweek.com and on our iPad edition.)

Idea You hear it oftenits whats inside that counts. Thats especially true for an automaker touting a roomy vehicle, like Honda has with its new Civic Tourer wagon in Europe. To advertise it, Wieden + Kennedy focused on all kinds of interiors in an amazing 60-second spot called Inner Beauty. The quirky, charming, exquisitely crafted ad takes the viewer, in a rst-person view, zooming across a desert and through all sorts of objectsfrom a golf ball to a suitcase to the Civic Tourer itselfrevealing their curious innards. The brief to W+K was, There is an estate hidden insidei.e., the Civic Tourer has as much room as an estate vehicle (a big van/station wagon in the U.K.). We decided it was interesting to focus on the human curiosity of looking inside things, said W+K creative director Scott Dungate, plus the joy you experience when youre surprised and pleased by what you see.

Copywriting The ad opens with the viewer speeding across a desert oor as Garrison Keillor, the brands longtime voice in Europe, says: For those who love the inside as much as the outside, this is for you. Quickly, the camera travels up to and through

a golf ball, camera, wrapped gift (with a robot inside), amplier, suitcase (containing clothes and a snow globe of San Francisco) and chest of drawers (with mostly socks). At the end, it explores the Civic Tourers interior, then pulls back to show all the previous items ying into its trunk. There, says Keillor. Arent you glad you looked? There was a lot of debate over which objects to include. I still wish wed cut through a rock revealing a fossil and crystal cave, but that

was a casualty of the process, said Dungate. The spot ends with the vehicle name on-screen, followed by the Honda name, The power of dreams tagline, honda.co.uk URL and #CivicTourer hashtag.

Art direction/lming The visuals are a mix of live action, stop motion and CGI. We ended up taking things more surreal, but didnt want to feel the CGI too much, said Dungate. While the nal aesthetic is hyper-real, I think it feels quite fresh as it uses a lot of real textures. Oscar-nominated Nexus directors Smith & Foulkes, whose Honda work goes back to 2004s Grand Prix-winning Grrr, lmed the live action in Teruel, Spain, and the stop motion in a studio. They wove in the CGI with help from Time Based Arts. Quirky was important, said Dungate. It needed to be playful, human and warmwhich can be difcult with inanimate objects and a slicing technique.

Talent Keillor, 71, brings a warm folksiness. He adds humility, which is a point of difference in a category full of overclaim, Dungate said. Perhaps even more useful is, its good for when youre writing. If you cant imagine him saying it, its probably not right. The driver of the car is almost invisible. I didnt want him in there at all, said Dungate. But someone had to drive, so I lost that argument.

Sound Theres no musicits all sound design, rich and complex. Sound played a big role in bringing humanity to the objects, Dungate said. It also plays a massive role in storytelling, setting up what the objects are and the lifestyle story relevant to the audience. Take, for example, the little kid laughing in the camera. Or the sound of the jet going into the suitcase. These all help you get the story of each object really quick, which is important as we move through things quite fast.

Media The spot broke rst in Germany, then in other European markets. Its running for a month in the U.K.

Showing off a cars roomy interior, in a playful way.

A differentview

Surprisinginsides

Packingit in

Honda, Inside OutThe SpotBy Tim Nudd Wieden + Kennedy slices through everyday objects, and the Civic Tourer, in a brilliantly constructed commercial.

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Trending TopicsThe latest news from the worlds of tech, print, advertising, marketing and television.

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Is JCPenney drunk tweeting the Super Bowl? Is Sports Illustrated putting Barbie on the cover of its Swimsuit Issue? Does Groupon really think Alexander Hamilton was president?

When each of these questions ared up recently, the answer was always the same: no, not really.

Welcome to the supposedly funny, largely frustrating new trend of marketers trolling consumers and journalists with what could best be described as intentional fouls. Brands are feigning questionable judgment, only to reveal soon after that it was all just a joke or (in the case of Barbie) much smaller in scope than people were led to believe.

Is this the new real-time marketing? Each brand saw a spike in online conversation and media coverage that PR pros dream of. But the volume of reaction was mixed, and its also likely that many consumers who saw the original stunt never saw the later reveal.

Case in point: JCPenneys supposedly drunk tweets (Who kkmew theis was ghiong tob e a baweball ghamle) got about 40,000 retweets and widespread media coverage, but the follow-up #tweetingwithmittens hashtag

only got used 7,911 times.A few weeks later, Mattel and

Sports Illustrated put Barbie on the cover of SIs Swimsuit Issue with the hashtag #Unapologetic.

The stunt got more than 10,000 tweets before many realized the cover was an advertising wrap on a mere 1,000 issues, meaning few people would see the actual image on newsstands.

And Groupons Presidents Day announcement that it was honoring Alexander Hamilton with a $10 discount (Hamilton, of course, was never president, despite being on the $10 bill) yielded just 3,500 tweets.

The tenor of the online response to the stunts also has been mixed. Topsy, which

measures the sentiment of social media activity, said the tweets about JCPenneys mittens and Groupons President Hamilton were both 67 percent positive. The discussion of Barbie as swimsuit model was 39 percent positive, though, as many wondered if Mattel was baiting feminists.

So is the intentional foul a smart marketing move?

Brands need to take a long, hard look at themselves before engaging in this kind of approach, said Edelman Digital svp Dave Fleet. For those with a playful identity and whose audiences are used to this kind of tone, the risk is lower, and this approach can break through the clutter.

For less playful brands, the risk of reputation damage increases, Fleet warned.

Trust in a brand is critical, and a perception of betraying that trust can do long-lasting damage to a companys relationship with its customers, he said. That doesnt mean dont do it, but it does mean companies should think twice about point-in-time stunts if they dont t with their brand.

Is 2014 the Year Of the Troll?By David Griner Brands are having fun messing with consumers. Is it a smart strategy or marketing gone wrong?

Bargains arent just for Walmart shoppers anymore.

Starting in April, Time Inc.s All You, the magazine for budget-conscious women, will be sold at stores outside the retail giantthe titles sole newsstand distributor since launching 10 years ago.

The exclusive deal with the worlds largest retailer let All You reach its target audience at scale with limited marketing costs, while circulation soared to more than 1 million in ve years. But as the soft economy has made budget shoppers out of everyone, the title seemed to be missing out on potential sales and audience by limiting its distribution.

Surprisingly, All Yous readers have a median household income of $68,000$11,000 higher than Cond Nasts luxury ad-driven Vogue at just $57,000.

Technology has led to opportunity for the magazine, as two-thirds of smartphone owners have used their mobile devices to research products or compare prices, according to Leo J. Shapiro & Associates.

The economy has spurred the smart-shopping movement, but technology has accelerated it, said All You publisher Suzanne Quint. So more people are more interested in smart shopping because its easy to shop smart today.

The 1.5-million circ All You has raised its rate base by 50,000 copies in anticipation of the nationwide rollout to stores including Kroger, Barnes & Noble and Target.

The expansion comes as All You, along with the rest of the magazine business, has suffered declines in single-copy sales. From 2008 to 2013, All You newsstand sales fell 12 percent. But after testing distribution outside Walmart last year, sales recovered. Lucia Moses

In Lean Times, All You Looks Beyond Walmart

MAGAZINES

Brand StuntsONLINE REACTION, SENTIMENT WERE MIXED

10,428

Sports Illustrated + BarbieTopsy sentiment: 39% positive

Groupon + Alexander HamiltonTopsy sentiment: 67% positive

JCPenney + #tweetingwithmittensTopsy sentiment: 67% positive

Coming to aretailer near you

7,911

3,456President Hamilton?

+6%

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Trending Topics

When Newspapers DieWhat happens when newspapers die? A new study published in Political Communication examined 2008-09 census data to assess the change in civic engagement (participating in civic groups, boycotting products or services, contacting public of cials) in Americas biggest metro areas. Civic engagement dropped signi cantly more in Denver and Seattle, where the Rocky Mountain News and Seattle Post-Intelligencer closed in 2009, than in peer cities, suggesting that eliminating the papers was the cause.SOURCE: DEAD NEWSPAPERS AND CITIZENS CIVIC ENGAGEMENT, POLITICAL COMMUNICATION, LEE SHAKER, PORTLAND STATE UNIVERSITY

to trim overhead, the need for a network offi ce is less critical.

With business consolidation and the recession, clients are migrating to larger markets, and its harder to sustain smaller offi ces, said Mark OBrien, president, DDB North America. L.A. boutiques have an advantage in that it is their primary offi ce.

Jay Chiats onetime boutique rede ned L.A.s ad industry in the 80s. Network agencies with local roots, like TBWA\C\D, have done better by retaining their local identity. Deutschs L.A. offi ce, founded before its acquisition by IPG, still has original partner and chief Mike Sheldon. Draftfcb has the advantage of Foote, Cone & Beldings strong West Coast legacy born of Don Beldings L.A. base.

Its the kiss of death if clients think you are a satellite offi ce,

said Carter Murray, CEO at Draftfcb Worldwide. The West Coast used to be all about S.F. Now that power base is shifting to L.A.

Deutschs Sheldon says a certain amount of independence is necessary to succeed in that transformational L.A. It comes down to thinking like an entrepreneur, he said. This city has always been a combination of relentlessness and eff ortlessness. People work really hard, but its diffi cult to be negative on a sunny dayand its always sunny.

Leaving Los AngelesBy Noreen OLeary Why have network agencies reduced their presence in Southern California while entrepreneurial shops have thrived?

Relative change in civic engagement, 2008-09

SeattlePortland San Fran.

Denver

-30% -9% -3%

The FCC could be close to a long overdue review of media ownership rules come March, and theres bad news for media owners: Early indications are that the new chairman Tom Wheeler is likely to propose tightening them.

Backed by his fellow Democrats, Wheeler isnt expected to loosen the rules but rather rm them up even more, which will no doubt bring strong opposition from TV broadcasters and newspapers, and will split any vote along party lines.

First, Wheeler is expected to bend to public interest groups and make joint sales agreements between TV stations count as owned under current ownership rules. Stations that nd themselves over the ownership limits would have 18 months to two years to unwind these agreements. There are JSAs in more than 100 mostly smaller markets.

Broadcasters, who have all but given up trying to convince the FCC to loosen the long-standing limits on how many stations can be owned in a single market, are likely to appeal the JSA change, especially since the FCC has allowed them for 20 years.

Newspapers also shouldnt expect relief. They were hoping

for cross-ownership rules to be loosened to allow TV or radio stations to purchase them.

Wheeler has already signaled he wasnt a big fan of his predecessor Julius Genachowskis proposal to loosen that part of media ownership.

And if past is prologue, the rules could once again end up in courtas they have for the past decade. Katy Bachman

Little Hope For Looser Media Rules

WASHINGTON

Wheelers not a dealer.

Earlier this month, Ogilvy & Mather Los Angeles cut 33 jobs, all but eliminating its ad agency presence (already drastically down from its 350 level in 2000). In December, DDB L.A. parted with longtime client Wells Fargo and relocated 30 agency employees to San Francisco.

Some 20 years ago, network agency offi ces were the dominant players in Southern California. Theyd land a local anchor clientusually a car, entertainment or technology accountand try to build from there, despite the dearth of big marketers out West.

But even as technologydriven from the West Coasttransforms the industry, many remaining L.A. network agencies still have more of an outpost mentality than an entrepreneurial re ex born of such change.

One reason is that West Coast network offi ces often conform to their headquarters more traditional operating model, relegating them to service entities. If the West was a diff erent country, these agencies would be developed within that culture and have a clearer business role within the network, said Robert LePlae, former North American head of TBWA\Chiat\Day and McCann Erickson.

Not surprisingly, then, L.A.s industry dynamism comes

from hot independent shops like 72andSunny and

content creation upstarts.To thrive in this market, you

have to thrive at the intersection of marketing, technology and entertainment, said John Boiler, founder, CEO, 72andSunny.

John Seifert, chairman, O&M North America, said Ogilvy L.A. will now focus on technological and social media PR work there. We believe a strong presence is

essential, but we dont think anyone has nailed the model of how to take advantage of it yet, Seifert said.

Aside from the vulnerability inherent in being dependent on a couple of clients, big-agency L.A. offi ces face other challenges. Prospective new clients can con ict with other existing ones in the network. Agencies dont cultivate talent like they used to and may have fewer high-pro le accounts to keep creatives happy. With technological advances and corporate pressure

John Seifert, chairman, O&M North America

Mark OBrien, president, DDB North America

Reasons why agencies are pulling back:

Exit of HTC, among other clients

Loss of 18-year client Wells Fargo

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93m people who play Candy Crush each day, according to the parents IPO ling. King Digital Entertainment is seeking $500 million in nancing.

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A restaurant chains marketing objective is to move more customers from in-store to online ordering.

A retailer wants to measure ads according to real-world visits as opposed to clicks.

Naturally, the right data in the hands of such advertisers can provide an edge over the competitionand many believe it is headed toward a reality in the online ad business where, not unlike Wall Street, the instantaneous analysis of performance and behavior drives results.

Call it the Bloombergization of online advertising.

Its hard not to make that leap from where we are today to the image of nancial transactions looking for that millisecond of an advantage, said Bob Ivins, head of data at Mindshare. Near real-time data is forcing marketerswho historically had to plan buy cycles a month, six months, a year aheadto collapse that and move closer to real time.

In the U.K., information such as search trends is already informing clients television-buying decisions. For example, for Kimberly-Clarks Kleenex

brand, a Mindshare client, media planners targeted commercials to postal codes that were identi ed by Google as most interested in u-related keywords.

But for all the data scientists now working on Madison Avenue, data-driven marketing

remains limited, according to the experts. Challenges include a move away from cookies.

Measuring the success of campaigns is a diffi cult business, and even with the abundance of data at the ready, brands budgets and creative still move slowly, said Brian Gleason, managing director at Xaxis, WPPs digital media buying platform. A lot of companies arent set up to react in real time, he pointed out.

And yet the ability to mine data is crucial, he added.

If you could understand that a certain type of creative will have a larger impact with a certain demographic who will be more likely to make a purchase based on a certain time of dayand more insights like thatthat puts you in a position to maximize ad dollars, said Gleason.

Several startups are working to move the eld forward.

One company, iSpot.tv, catalogs every national TV commercial via a YouTube-like interface, displaying such stats as how many times a spot airs and how much it costs. That allows brands to monitor their rivals or pair TV data with sales metrics. Information like that doesnt come cheaply, howeveran annual subscription can go for more than $100,000.

Other players scrape every digital display ad. One company, xAd, is developing new ways to measure online ads based on store visits. It counts Pinkberry and The Home Depot among its clients.

Measuring cost-per-visit ads is still an inexact process, according to xAds CEO Dipanshu Sharma.

It will make ad results more tangible, Sharma said. There are people who click on ads that never go to a store and those who dont click and go. So whats more important?

Data Science Comes to Web Ads, SlowlyBy Garett Sloane The online ad business sees itself becoming more like Wall Street. If only clients moved that fast.

Media Spend

$1b Microsoft global creative, media Incumbent two fteenmccann,

Wunderman, Razor sh, MediaVest, UM and others

Contenders To be determined Consultant Joanne Davis Consulting Completion April

Media Spend

$325m Burger King global creative Incumbent Mother, CHI &

Partners and others Contenders To be determined Completion April Media Spend

$275m In niti global creative Incumbent TBWA Contenders Incumbent, others

to be determined Completion April Still up for grabs $130m Wells Fargo creative $120m Papa Johns creative $115m CVS creative Awarded Reebok global creative

Reebok has shifted its global creative business yet again, this time to Venables Bell & Partners after a review. Annual global media spending is estimated at $50-60 million. Sources identi ed the other nalists as Mother and Goodby, Silverstein & Partners. The new lead agency succeeds DDB, which had replaced mcgarrybowen just 13 months ago.

Note: All assignments for U.S. unless otherwise noted. Media spending re ects last full year, according to Nielsen.

Accounts In ReviewA weekly roundup of the major accounts up for grabs and whos chasing them. By Andrew McMains

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By Lucia Moses As gender boundaries erode, men are increasingly taking on the role of chief purchasing ofcer.

Man of the HouseData Points

They use digitaldevices in the

shopping process,especially younger

men.

41%

21%

18-34 35-49

Use onlinereviews in

their research

Use theirmobiles to get

productinformation while

in the store.

27%

A survey of 2,000 men 18-49 by Defy Media, the product of the merger between

Alloy Digital and Break Media, looked at mens attitudes toward shopping and how

they make purchasing decisions acrossa variety of categories.

Theyre nottoo proud toseek advice,contrary to

stereotypes.

63%

28%24%

Rely onbrands that

are tried and true

35%

Friends and familyare the primary waymen learn about newproducts, but socialmedia and YouTubeare growing sources.

Socialmedia

YouTube

$

While advertising is a big factor behind a purchase,men care about products that appeal to their values.

NEWBRANDS.

Theyreopen to

65% of men holdprimary responsibilityfor several householdproduct categories.

63% are opento choosingnew brands.

54% of married mensay they shop for groceriesand household suppliesmore than their spouses.

67% say theyactually enjoy

shopping forthe household.

45%

32%

Turn to friends or familyfor guidance on purchases.

Ask store employees.

50%bought a productbecause they likedthe story behind it.

60%bought a productbecause it wasmade locally.

57%said theyd stopbuying froma company thatdid somethingoffensive or illegal.

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Our success doesnt lie in becoming more interesting or disruptive. What we need is purpose.

By Abbie Walker In a fragmented landscape full of products and information, only real, purposed-based humanity can save marketing.

The Era of KinshipVoice

K inship is everywhere. Its em-pathy in action: a hug, a com-forting word, the backbone of a friendship. Kinship is funda-mentally seless, intrinsically rewarding, a vital and extreme-ly human part of being, well, a human being.

Kinship requires work, and while people inherently are driven by it, brands are not individuals and often do a poor job evoking similar feelings. Consumers have been skeptical of todays brands intentions for some time now, and so is it any wonder they have such a hard time earning trust?

Martin Weigel, planning director at Wieden + Kennedy Amsterdam, rightly said we have become prisoners of a metaphor, and as weve suspended reality for our metaphors, our brands ask consumers for what a person expects from his or her friendsloyalty, trust, attention, love, timewithout putting in the reciprocally requisite work. In other words, brands need to reconsider their motivations and behaviors because no one is buying the be-our-friend act any longer.

One problem is the mistaken notion that advertising shapes culture. Rather, advertising has always been a mirror that reects changes in culture, politics and industry. In the Era of Logicthe 50s and 60sthere was a scarcity of information, so products earned markets based on clearly stated attributes. Winning brands made whites whiter, fed families more easily and vacuumed hard-to-reach places.

Market saturation and mass media shifted us to the Era of Emotion. Prompted by booms of products and prosperity, conspicuous consumption kicked into high gear, and logic wasnt enough. Your product had to make a prospective buyer feel something. A car was freedom on four wheels, jeans made you rebellious. This ego-driven style persists today, but its worn thinits promises turned to platitudes, its emotion drowned in a sea of indistinguishable metaphors.

Lets consider the world in front of us: massive amounts of products and information a mere ngers touch away. This could be a truly exhilarating landscape for brands and marketers. The bad news, however, is that brands are still working with

the dated tools from the Era of Emotion. Most brands are looking at behavior but

dont question whether peoples internal motivations have changed. Spoiler: They have. Fragmentation of media and the power to the public collective, for example, are behavioral outcomes of deeper truths. Find those truths, and you transcend the like us on Facebook noise.

So whats motivating people? What thoughts are keeping people up at night? Our access to endless information and socialization has given new life to age-old questions. Why am I here? What impact do I want to have on the people around me?

Our success doesnt lie in becoming more interesting or disruptive. What we need is purpose and to help people realize their purpose. To know your purpose as a brand is to know who you, as the brand, aspire to be. This denes your subsequent behavior inside the company, in your products, and ultimately how you impact the world. Its the why your brand exists. Consider a few well-known, proven examples. Pampers helps parents care for their babies and helps toddlers development. Amazon enables freedom of choice, exploration and discovery. Red Bull energizes the world. Notice the commonality: Purpose transcends business and product (the what) and delivers on human principles (the why).

The why gives businesses and brands focus, a valued role to play in modern life and a depth that resonates with people. If you commit to a purpose that will truly benet the world in some way, you are on your way to dening your brands role in peoples lives, and the way you communicate with them. It is within this dialogue between brand and consumer that we can nd solutions, innovate and challenge the status quo. Ultimately, we can inspire othersour kinto nd their purpose.

Lets shed the chains of our metaphors in this new Era of Kinship. Its not people who need to do the heavy liftingits our brands and us. Like a good friend, we have to help others nd purpose and to give selessly, empathetically and meaningfully.

Abbie Walker is vp, strategy at brand experience agency Momentum Worldwide.

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As she heads to her rst SXSW, Ubisoft exec Jade Raymond is cutting Hollywood deals as she prepares to launch a new franchise. By Garett Sloane

J ade Raymond thinks it would be cool to live in a world in which traffic lights change on her com-mand, one in which she has all the keys to all the locked doors. Nothing would be off limits. Thats kind of how Ubisofts star video game producer views the future of the industryputting gamers in charge. And ttingly, this ability to control the world is the theme of her companys next likely blockbuster game.

Watch Dogs is the future-set thriller about the surveillance society. The player controls the open worlds transit, communication and security systems. The game will be among the rst to take advantage of the graphics and power boost provided by next-gen consoles Xbox One and PlayStation 4, and its one of the most anticipated titles of the year. Its also one of Raymonds creations in a portfolio of games that includes Assassins Creed.

Raymond says she has embraced a phi-losophy of gaming that empowers the gamer. Playersand people reallywant to express themselves, and when I think about it, were kind of in an age of self-expression, she says. People want to play their way, they want to create their own stories, and they want to share those stories.

A native of Montreal who studied comput-er science at McGill University (and whose fa-vorite video game character is Donkey Kong), the 38-year-old manager of Ubisofts Toronto office is headed to her rst SXSW, and her timing is impeccable. The festival is pushing deeper into gaming, an industry whose ten-drils reach into SXSWs other cores: technol-


Raymond, in Ubisofts Toronto office, which she oversees.

22 FEBRUA RY 24, 2 0 14 | A D W E E K

S X S W P R E V I E W

ogy, lm and music. This year is the rst that SXSW has a gaming awards ceremony.

Raymond will take part in the interac-tive tech portion of SXSW, but these days she could t into the lm community almost as neatly, given that shes been cutting a num-ber of Hollywood deals lately. New Regency and Ubisoft are planning to make Assassins Creed starring Michael Fassbender, Splinter Cell starring Tom Hardy and a Watch Dogs movie. (Were selecting partners and deter-mining brand values, Raymond says of her recent business in Los Angeles.)

The history of video games is littered with failed movie spinoffs, but the entertainment industry is changing and so is the type of con-tent that appeals to viewers. Online channels Twitch and eSports generate big audiences by streaming video game play, creating virtual spectator sportsa development few would have predicted in the early days of gaming.

Surely in this environment, video game-based movies and shows stand a better chance than the 1993 Super Mario Bros. op. Raymond says she understands the challeng-es when shes reminded of how often movies based on video games fail. I agree, thats why were doing it different, she says. The prob-lem with a lot of what youve seen in the movie adaptation of video game franchises is that often people think that when theyre experts in one type of media, they think theyre ex-perts in everything else.

Ubisoft isnt the only game studio with big-screen ambitions. Rovio is looking to trans-late Angry Birds into a full-length feature by 2016. Ubisoft has its own animated franchise called the Rabbidscutely deranged rabbits

who currently star in a Nickelodeon cartoon and soon will get the movie treatment.

Perhaps no Ubisoft franchise has the cin-ematic potential of Assassins Creed. With Fassbender signed on, they have a rising Hol-lywood star (X-Men First Class, Prometheus). In Assassins Creed, they have an immedi-ate fan base. The game is one of the highest-selling entertainment properties of the past decade, moving 73 million units, with new installments released yearlya level of regu-larity that is hard to match in the industry. Grand Theft Auto released two sequels in the same time it took to make four Assassins games, and the fth AC is in the works.

What they do with Assassins Creed on an annual basis7 million to 10 million unitsthats pretty impressive, says analyst Mi-chael Pachter with Wedbush Securities. And with Watch Dogs, look for something of that magnitude.

Theres a compelling story propelling As-sassins Creed, as well, one that came from Raymonds fascination with conspiracy theo-ries developed from reading books about the Illuminati in her early teens. Assassins Creed

borrows heavily from that genre, featuring a secret society of warriors who travel back in time (not by time travel because thats cheesy, she offers) using genetic memory (this idea that the memories of peoples an-cestors are encoded in their genes).

Assassins Creed has explored the Cru-sades, the Renaissance, American Revolution and most recently pirates. The fth install-ment will feature her favorite historical era, Raymond says, but she cant even give a hint of what that is because it would ruin the sur-prise. She did dispel the rumor that it is set at the end of the samurai age in Japan. That said, she thinks that would be a cool idea.

When were building a franchise, were thinking of a whole universe and how were developing a meta-story that could live on for many years in games and TV, explains Ray-mond. If the story has nowhere to go, then you end up with the video game equivalent of The Matrix 2 or something where its never going to be quite as genius.

Watch Dogs is the next potential block-buster, but its faced delays. Ubisoft is taking its time rather than risk disaster with the rst big crack at creating a fresh franchise on the new consoles. The game is now expected in the spring, Raymond says, but she gets to play Watch Dogs nowone of the perks of working in video games.

At SXSW, Raymond is set to discuss how the video game industry has become an entertain-ment force on a massive scale. The festival has been getting more into gaming, a tough indus-try to master for the Austin event that special-izes in technology, lm and music. One of the challenges is bad timingSXSW comes at the same time as the Game Developers Confer-ence, one of gamings biggest events.

The video game industry has typically been represented at SXSW by indie devel-opers and app makers, but its hard to do a technology and entertainment festival that doesnt embrace the mainstream video game world. The gaming aspect has been a little more difficult, but it has really grown, says Hugh Forrest, SXSWs interactive director. One of the things we do very well is this con-cept of convergenceand gaming ts right into that. [email protected]; Twitter: @garettsloane.

I F T H E S T O R Y H A S

N O W H E R E T O G O , T H E N

Y O U E N D U P W I T H T H E

V I D E O G A M E E Q U I V A L E N T

O F T H E M A T R I X 2 . Jade Raymond, Ubisoft

G A M I N G @ S X S W A quick scan of goings-on in Austin: March 7, 5 p.m.: Electronic Arts CEO Andrew Wilson interviewed at the Long Center for the Performing Arts, Dell Hall March 8, 7 p.m.: SXSW Gaming Awards at the Long Center March 9, 2 p.m.: Raymond interviewed by gamer personality Geoff Keighley at the Long Center

Watch Dogs plays off the surveillance society we live in.

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When Pigs FlyFocusing on what it does best, Gogo is bringing technology to consumers ngertips at 30,000 feet. On March 7 and 8, the in-ight WiFi provider will invite folks to a one-hour ride in the nine-seat plane it regularly uses as a test lab. But heres the real draw: The cabin will be outtted as a food truck, serving local favorite Keiths BBQ during the ights. Were going to feed them some of the best barbecue in the country and give them the chance to experience our new products, says Ash ElDifrawi, Gogos chief commercial ofcer. The private plane is typically employed by the Itasca, Ill.-based rm to tweak its in-ight WiFi service. And to ElDifrawis point, its where Gogo developed a Web-based text-and-talk service thats being launched at SXSW, so jet-setting participants will get a sneak peek into how they can soon communicate with land-bound friends. Hey, how often can you say you had cloud-based ribs and brisket?

Wearables for Road WarriorsUndertone has been readying an RV dubbed Future Proof Labs at West Coast Customs (of MTVs Pimp My Ride fame) in Corona, Calif., featuring wearable devices and other digital technology. Next week, the rm plans to wow SXSW attendees with near eld communication-enabled watches, rings and bracelets. Several interactive stations around and inside the motor home (located on the corner of 5th and Colorado) will demonstrate how wearables can impact consumers digital lives. Theres never really been an ad tech company thats been the talk of the show, says Eric Franchi, Undertones co-founder. Weve sent people in the past, but this is a drastically different level of investment. Were going to help people experience mobile and wearables and hopefully make a big splash.

Bread Co. Seeks Mainland DoughKings Hawaiian, which has been making bread since the 50s, will work the festivals interactive and lm programs as a springboard for its emergence as a national advertising player, via TV spots from Energy BBDO. For Austin, the brand built its rst food truck, featuring a huge HD screen reporting all the SXSW social buzz. Nearby photo booths let attendees share pics in their social streams along with Kings tagline #GoPupule (Hawaiian for go crazy). The company is buying Promoted Tweets around relevant keywords for the festival to promote the hashtag. And talk about meta: Kings truck

will be stationed outside the March 7 premiere of Chef, an indie lm about a food truck starring Dustin Hoffman, Scarlett Johansson and Robert Downey Jr., for which Kings Hawaiian bought a product placement. We want the South-by experience to be as interactive as possible while kick-starting the larger campaign, which launches around Easter, explains Erick Dickens, marketing vp.

A Cure for Hospitality HeadachesRazorsh is reprising last years much-buzzed-about #UseMeLeaveMe effort, equipping 20 bicycles with GPS and allowing attendees to take a spin around the festival while their wheels auto-tweet weather details and random hellos, comment on whether the rider is acting like a fool and other fun messages. The digital shop has expanded the initiative this time around, however, with a push it has dubbed Buds for Beds, offering South-by attendees the chance to lodge during the packed event for free. Attendees can register at UseMeLeaveMe.com, then encourage their friends to vote for them. The winner, along with four pals, will get the use of a house on a huge lot along West 4th Street. Recruiting sessions, hackathons and music performances will take place there over the course of SXSW. With Buds for Beds, we want to help solve the housing problem that is endemic to the South-by experience, explains Chris Bowler, Razorshs social media lead. Where the Weird Things Live Tech vendors Umbel, AdColony and Vox Media are co-sponsoring an event March 7 in one of the Texas capitals most-famous music venues, Moody Theater, home to PBS acclaimed Austin City Limits. Its going to be strange. Indie psych-folk band Local Natives will take the stage, while street teams dressed as astronauts work the front of the venue and Mexican wrestler El Umbel takes seles with guests. Its hard to be weird here, but we are going to give it our best shot, declares PR rep Lana McGilvray. Inside the Moody, large screens will showcase Umbels data services as branded welcome messages are zapped to attendees smartphones. The mascot unlocks conversation after conversation, says Umbel CEO H.O. Maycotte. Its fun to have a little something playful in the business-to-business space. For those braving the South-by crowds, be prepared for a little something weird. Thats just part of the deal, friendo. [email protected]; Twitter: @chris_heine.

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The cacophony and crowds that dene the annual geekfest force tech rms and advertisers alike to turn their activations up to 11. By Christopher Heine

For 20 years, South by Southwest Interactivewhich started, humbly enough, as SXSW Film & Multimediahas evolved into a massive marketing extravaganza, last year playing host to 31,000 tech practitioners and enthusiasts, up from 11,000 in 2009. How can a brand hope to break through all that clutter? While it has become old hat for the Twitterati to snipe about the idea of traveling to Texas every year for such a big, noisy event, everybody still shows up. And once they hit town, theyll be sure to weigh in on activations by AT&T, Samsung, HBO, Subway, American Express and scores of other brands, vendors and agencies. Heading into this years festival, Adweek previews ve activations vying for attention amid the controlled chaos of Austin.

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To us, it was a movie about our times

[Scorsese] wasnt just making a movie about

the overreaching greed of the80s. Everything in this lm is applicable to

whats going on today.

The Oscars

25A D W E E K | FEBRUA RY 24, 2 0 14

JOSH GREENSTEIN

Selling Marty, Leo and The Wolf of Wall Street

QAWhich social stats do you look at most?In the rst week, we want to be, you know,

over 5 million or 6 million views. We want to feel like its consumed, that it feels very hot out in the world. And then we monitor the conversation and see what the reactions [are] one, are people even talking about it? We want people to be passing it around.

How did your marketing strategy shift when you clinched ve Oscar nominations?

Well, at that point, the movie had been out for a lot longer, and we didnt have to be as lin-ear in the storytelling. We had a lot of great publicity, with Leo and Marty doing Q&As, going on Saturday Night Live.

During the Academy push of the cam-paign, we show a little different side of the lm, a little more serious, talk about all of the accolades, a very review-heavy, very re-view-centric campaign. The campaign kind of evolves, and you get to highlight the great performances from the cast. You get to high-light Martys direction, you get to highlight Thelma [Schoonmaker]s editing; theres just more freedom to kind of explore the different angles and areas of the lmmaking. We have a piece of outdoor right now with the slogan Because its awesome. Thats all it says. You couldnt do that before the moviepeople wouldnt know what you were talking about.

How is marketing The Wolf of Wall Street different from marketing something like [Best Picture nominee] Nebraska?

Nebraska was a lmmaker-driven, criti-cally lauded, black-and-white lm by Alex-ander Payne. Alexanders had tremendous success with his other lmshe himself has become a brand. The lm is a big part of mar-keting Nebraska. We did an early screening program; we got it to as many peoples hands as we could because we knew when people saw that lm, they would fall in love with it.

What about World War Z?With a movie like World War Z, it was hold-

ing backwe wanted to tease and hold back the lm for as long as possible. Not only the lm but the materials, to get people excited, to give people hints, to create a mystery in the campaign and in the sell. So there was, when you went to the theater, it was a real sense of discovery, you were nding things out. And we sold it very aggressively. You know, it was a giant summer tent pole with a giant interna-tional star, obviously, in Brad Pitt.

Whats on the agenda for 2014?Well, weve got a tremendous slate of lms.

Weve got Darren Aronofskys Noah, Michael Bays Transformers: Age of Extinction, Brett Ratners Hercules, Teenage Mutant Ninja Turtles, Christopher Nolans Interstellar. We have tremendous, tremendous lms com-ing up. I couldnt be more excited to work on them, and we have very high hopes for all of them. [email protected]; Twitter: @gbeltrone.

M arketing a movie is always workespecially when its about a wholly dishonorable Wall Street operator in the go-go 80s. Josh Greenstein was up to the challenge. Since 2011, he has served as CMO of Para-mount Pictures, which distributed Martin Scorseses The Wolf of Wall Street, starring Leonardo DiCaprio, in North America and Japan. Adweek caught up with Greenstein to learn how the studio turned a hard-charging portrayal of excess, full of graphic sex, drugs and general immorality, into a blockbuster, and nominee for the Academy Award for Best Picture. Gabriel Beltrone

adweek: First, the nuts and bolts. What was the target audience for Wolf?

greenstein: Adults 18-49, entertainment consumers, moviegoers. Marty has a huge fan base. Leo DiCaprio has a huge fan base. We opened wide, so it was a national campaign.

What about the popular sentiment about Wall Street? Did you pay particular attention to that as you approached marketing the lm?

Well, we did pay attention to what was go-ing on, but we really tried to broaden out the messaging for the lm. To us, it was a movie about our timesMarty wasnt just making a movie about the overreaching greed of the 80s. Everything in this lm is still applicable to whats going on today, where people are in life and how theyre feeling about the world.

How deeply involved in the marketing of the lm was Scorsese?

On a campaign, its always lockstep with

him. Hes a true partner in the marketing, in every aspect of the campaign, because hes such a visionary. We want to be able to take advantage of that mind in our campaign. For instance, we worked on [the teaser trailer] to-gether. He instantly loved the Kanye [West] song [Black Skinhead] that we used in it. That was a pretty bold song to put in the rst piece for a movie that was set in a different pe-riod, and Marty embraced that.

How did you use social and digital?One thing that got passed around a lot was

the GIFs of Leo break dancing from the trail-er. We started with an uncompromising take in terms of our advertising, and I think that got people excited that Martin Scorsese was bringing his vision to life on the big screen be-cause I think people expect that from Marty. They expect him not to pull punches. ...

We didnt try to paint the movie in a dif-ferent light. We embraced [the lead] Jordans character, we embraced the controversy. We didnt try to paint him as a super-likable guy. We tried to stay as true to the lm as we could [laughs] under advertising limits.

According to Nielsen, trailers tend to play better with moviegoing audiences than shorter TV spots, yet TV is still a huge part of any big campaign. Wheres your focus lie?

To me, its a matter of sequencing. I think trailers, whether theyre in-theater or online, are a great opportunity to give people a more long-form version of what a movie is about, getting them excited to see the lm. And tele-vision is incredibly important, and it really helps us close very hard and very targeted to our audiences. So theyre both important.

WARNER BROS. PICTURES 2013 Worldwide Gross $5.04B

D O M E S T I C I N T E R N AT I O N A L

Annual Media Spend

Social Scorecard 1.28M Twitter followers663,000 Facebook likes

Marketing Chief Sue Kroll, president of worldwide marketing and distribution

Media AgencyWB@OMG, a Warner Bros.-dedicated unit at Omnicom (U.S.)

Box Of ce Highlights The Hobbit: The Desolation of Smaug ($860M worldwide gross); Gravity ($701M worldwide); Man of Steel ($668M worldwide)

Oscar Nominations

21, including Best Picture for Gravity and Her

WALT DISNEY PICTURES 2013 Worldwide Gross $4.73B


Annual Media Spend

Social Scorecard 1.84M Twitter followers12M Facebook likes Marketing Chief Ricky Strauss, president of marketing Media Agency OMDs 4D (U.S.); Carat (global) Box Of ce Highlights Iron Man 3 ($1.22B worldwide gross); Frozen ($958M worldwide); Monsters University ($744M) Oscar Nominations 8, including Best Animated Feature for Frozen and The Wind Rises

UNIVERSAL STUDIOS 2013 Worldwide Gross $3.67B


Annual Media Spend

Social Scorecard 118,000 Twitter followers2.7M Facebook likes

Marketing BrassJosh Goldstine, president, marketing; Michael Moses, co-president

Media Agency Maxus (North America); MediaCom, London (global)

Box Of ce Highlights Despicable Me 2 ($971M worldwide gross); Fast & Furious 6 ($789M)

Oscar Nominations

10, including Best Picture for Dallas Buyers Club and Best Actor for lead Matthew McConaughey; Despicable Me 2 for Best Animated Feature

20TH CENTURY FOX 2013 Worldwide Gross $3.51B


Annual Media Spend

Social Scorecard 645,000 Twitter followers873,000 Facebook likes Marketing Brass Paul Hanneman and Tomas Jegeus, co-presidents of worldwide theatrical marketing; U.S. lead, Marc Weinstock Media Agency ZenithOptimedia (U.S., global); Vizeum (global) Box Of ce Highlights The Croods ($587M worldwide gross); The Wolverine ($415M) Oscar Nominations 11, including Best Picture for 12 Years a Slave (Fox Searchlight) and its lead Chiwetel Ejiofor for Best Actor, and Best Animated Feature for The Croods

$1.89B $3.15B

MOVINGPICTURESHollywoods marketing machine, by the numbers. By Gabriel Beltrone

Action/adventure movies are Americas most loved genre, favored by 61%.

Tom Hanks is Americas favorite actor, followed by Denzel

Washington and Jennifer Lawrence.

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The Wolf of Wall Street has surged in popularity online since Oscar nominations were announced last month, doubling its social fan base to 872,112 (Facebook and Twitter combined). That's more than double the No. 2 Best Picture nominee, Warner Bros.s Gravity. ListenFirst Media, via The Hollywood Reporter

THE STUDIOS

$1.18B $2.33B$1.42B $2.25B$1.72B $3.01B

$582M $600M $485M $303M

$3.2B Total motion picture industry ad spend in 2012. Television had by far the biggest share, with 86.5%. The remainder went to: newspapers (6%), outdoor (3%), Internet (2%), and radio, magazines and b-to-b (

SONY PICTURES 2013 Worldwide Gross $3.05B


Annual Media Spend

Social Scorecard768,000 Twitter followers583,000 Facebook likes

Marketing ChiefJeff Blake, chairman, worldwide marketing and distribution

Media AgencyUM (U.S., Latin America, Asia-Paci c)

Box Of ce HighlightsThe Smurfs 2 ($348M worldwide gross); Cloudy With a Chance of Meatballs 2 ($267M)

Oscar Nominations

21, including Best Picture for Captain Phillips and American Hustle, which also earned nods for Best Director (David O. Russell), Best Actor (Christian Bale) and Best Actress (Amy Adams)

PARAMOUNT PICTURES 2013 Worldwide Gross $2.38B


Annual Media Spend

Social Scorecard 1M Twitter followers2.5M Facebook likes Marketing Chief Josh Greenstein, CMO

Media Agency MEC (U.S., global)

Box Of ce Highlights World War Z ($540M worldwide gross); Star Trek Into Darkness ($467M) Oscar Nominations 13, including Best Picture for The Wolf of Wall Street and Nebraska, both of which scored Best Actor nods for respective leads Leonardo DiCaprio and Bruce Dern and Best Director for Martin Scorsese and Alexander Payne

LIONS GATE 2013 Worldwide Gross $2.32B


Annual Media Spend

Social Scorecard 340,000 Twitter followers 531,000 Facebook likes

Marketing BrassTim Palen, CMO, Lionsgate; Nancy Kirkpatrick, president, worldwide marketing, Summit Entertainment

Media AgencyMindshare (U.S.)

Box Of ce HighlightsThe Hunger Games: Catching Fire ($863M worldwide gross); Now You See Me ($352M)

Oscar Nominations

1, Sound Editing for All Is Lost

A WORD ABOUT PRODUCT PLACEMENT $1.8b Total global spending on product placement in movies in 2013

100 Warner Bros. Man of Steel picked up more than 100 product partners, earning the studio some $173 million. EXPERT OPINION "The objective [of product placement] is being part of a story, having a relevant role in the story or having the values of the lm match that of the brand," says Ruben Igielko-Herrlich , founding partner of Propaganda GEM, the marketing shop that tied Nokia to Man of Steel and whose clients also include BMW and Lacoste. China will become the No. 1 market for Hollywood, he adds, as it boasts more moviegoers than anywhere else on Earth. "There are Chinese brands that we will bring into Hollywood productions, which then are shown in China, and it demonstrates to their own consumers that these Chinese brands are global brands, on par with the aspirational Western brands." American adults see an average of ve movies every year .

THE TRAILER MAKERS While studios tend not to hire big ad agencies to market their lms, there is an economy of shops in Los Angeles helping to create trailers, teasers, television spots, posters and other promotional materials. They include Trailer Park, mOcean , Buddha Jones, Skip Film, AV Squad, MobScene, BLT, Ant Farm, Industry Creative, Ignition Creative, Motive Creative, Mark Woollen & Associates, Workshop Creative, Flyer Entertainment, Wild Card and Vibe Creative.

44% of consumers 12-74 say they trust

trailers "a lot" when deciding whether to

see a movie.

Three of the 10 most-shared Super Bowl ads of all time were movie trailersfor the fth and sixth installments of Universals Fast & Furious franchise and Paramounts Star Trek Into Darkness.

$1.14B $1.91B

$472M

$1.07B $1.25B

$329M

$1.02B $1.36B

$310M

1 4 % S O C I A L M E D I A P O S T S F R O M S T R A N G E R S

4 4 % T R A I L E R S

4 0 %F R I E N D S A N D F A M I LY

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2 2 %C R I T I C S R E V I E W S

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94%of teenagers see at least one movie a year.

The number of people who viewed movie trailers on YouTube doubled in 2013.

CONTACT US FOR A FREE MUSIC DOWNLOAD AND GET THE PERFORMANCE YOU NEED Diane Driscoll 212.493.4110 [email protected] www.BillboardMusicStore.com

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Reporters file from the April 1962Academy Awards ceremony.That years Oscar for Best Picturewent to West Side Story.

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Helping clients in the early stages of marketing challenges has won this freelancer shop business from blue-chip brands Microsoft and Smart USA.

Hub StrategyPortrait

Twelve years ago, D.J. ONeil assembled a network of freelancers that became Hub Strategy, to deliver the specialist executions smaller agencies dont have in-house. (Hes since gathered some 120 creatives, designers and strategists within Hubs Presidio-area ofce.) Though other agencies have since jumped on that bandwagon, ONeil seeks to differentiate Hub by getting involved at the earliest stages of a marketers communications planning. Clients have included Slingbox, the Oakland As, Microsoft, Google and Blue Shield of California. One of the shops latest projects is for Smart USA: Last month, Hub launched an app that uses GPS tracking and social media to aggregate local parking location tips for the micro cars. Noreen OLeary

SpecsWho Peter Judd (l.), creative director, director

of design; D.J. ONeil, CEO, creative director What Advertising, design and production shop

Where Presidio Bowling Center, near the agencys San Francisco ofce

Available FREE to current Adweek subscribers.www.adweek.com/ipadDownload the Adweek iPad edition today.

iPad, iPhone, and iPod touch are trademarks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

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32 FEBRUA RY 24, 2 0 14 | A D W E E K

Perspective

Even as Snickers used our strapping quarterback friend here to represent its core demo, it was making a separate marketing appealto mom. A big thing with working mothers is guilt that they couldnt have a warm meal on the table at 5 oclock, Stallman said, so this ad is giving permission. Or trying to. Substituting a candy bar for a meal seems a little dubious, but in the 1980sthe era of the energy barit was common.

Much like songwriters, brand marketers play variations on a theme. Coca-Colas famous tagline Its the real thing from 1970 became Cant beat the real thing 20 years later. KFCs unforgettable Its nger-lickin good slogan of the 1960s and 70s morphed into the more compact So good in 2011. And LOrals successful Because Im worth it slogan has modulated twice, rst into Because you are worth it and then Because were worth it.

Most of these evolutions have to do with the usual things: changing consumer tastes and shorter attention spans. But in the case of Snickers, the condensing of Packed with peanuts, Snickers really satises to just Snickers satises has its own particular story, as the ads here suggest.

Steve Stallman, president of Stallman Marketing, points out that these 1986 and 2014 ads (along with their respective taglines) are indeed variations on a familiar theme. The core message that Snickers satises is at the end of the new ad, so its a logical extension of the identical message, he said.

But while the message might be identical, its execution is anything but.

Ever since 1930, when Mars rst struck on the idea of combining the usual candy bar ingredients like chocolate and nougat with whole peanuts, Snickers has acted more like a meal than a snack. And the bars stomach-lling properties made it a runaway hit after Ted Bates Worldwide coined the Snickers really satises tag in 1979.

But traveling that rough-and-rugged marketing path landed Snickers in a rut thats on full display in this 1986 ad. Sure, its great that Snickers has moms blessing, but the target consumer is clearly jock boy here, complete with his muddy track pants and his football. Another Snickers ad from this period featured John Siman of the U.S. Olympic water polo team. After a workout, you really build up a big hunger, said big John with his big muscles.

It took a few years (and lost market share) before Snickers realized that a delicate operation was in order, one that would retain the brands central attribute even as it tweaked both content and tagline. The result from BBDO isnt just a funnier image, its a more accessible (read: gender-neutral) one. After all, as Stallman asks, who cant relate to hunger? This is a big segment, he said. Now, Snickers is talking to the factory worker, the ofce worker, the college student.

Snickers is also doing it with a new slogan. Youre not you when youre hungry holds true for anybody. But check out the 2014 ads lower right corner. Snickers has retained all the brand familiarity it won with years of the old slogan by retaining its most powerful word: satises.

Which goes to show: You can re a jock and replace him with a zebra, but a good tagline can live forever.

By Robert Klara How Snickers red a quarterback, hired a zebra and tweaked one of the most famous taglines in advertising history.

Hunger Games

Back

33A D W E E K | FEBRUA RY 24, 2 0 14

The sole surviving word from the old tagline sits down here by itself. But satises is still doing a critical job, reminding consumers of a familiar slogan and reinforcing the message that Snickers is still about lling you up, Stallman said.

Stallman wonders why more brands dont take advantage of showing the food as Snickers does very well here. Mars no longer has to say that Snickers is packed with peanutswe can tell.

Stallman observes that reversal of a familiar metaphor (rarely do we see a lion as prey) is a visual manifestation of the new tagline. A zebra doing the hunting is not normal, he said. Great ads can be done with few wordsand this one does it.

Satises is at the end of the new ad, so its a logical extension of the identical message.Steve Stallman, president, Stallman Marketing

The new Sports Illustrated Swimsuit Issue cover star has also reached the pinnacle of social media fame thanks to her very own meme.

Chrissy Teigen

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Whats the rst information you consume in the morning?MSNBC is usually already onMorning Joe, speci callybecause my husband [John Legend] wakes up a little before I do. I listen to that as I scroll through Twitter and look at whats trending.

Youve become a big star on social media. How did you get started with that? I have always been a bit of an Internet addict. Young Chrissy loved her AOL chat rooms, message boards, forums, everything!

Youre pretty active with your followers, too. Why is that important? Fan interaction is everything these days, for me at least. Its nice to show people that you dont just take pictures, you have a voice.

You also have your own food blog, So Delushious!. What blogs do you read for inspiration? I actually dont read too many food blogs. Foodbeast comes to mind and Immaculate Infatuation. But most of my food inspiration comes from food magazines. I usually have four or ve with me on any plane ride.

Whats your favorite app? My Talking Pet is hysterical. It makes any photo of anything talk. Pets, Barack Obama, a donut, whatever you want. I have had nights where I have cried laughing for hours on end doing this.

What about TV shows? Any guilty pleasures? I love trashy reality shows. Love. And I feel absolutely no guilt about it. Vanderpump Rules and all of the Real Housewives have my heart.

How do you wind down before bed? Red wine and Bravo!

Whats on your reading list right now? Im currently reading The Genius of Dogs: How Dogs Are Smarter Than You Think, by Brian Hare.

Did you read the Sports Illustrated Swimsuit Issue before you became a model? Of course! Getting to meet so many of the women I looked up to is just so crazy to me. It never gets old.

Do you think its as much of a must-read for some women as it is for men? Yes! I have so many female friends in the fashion industry who use our photos for shoot inspiration. I love it.

You are now the subject of your very own Internet meme, #ChrissyHoldingThings. Is that pretty much the social media equivalent of landing the Swimsuit Issue cover?Im not sure if anything is nearly as good as this feeling I have right now with the cover. But I cannot believe that the meme happened. And I cannot believe that so many people know how to use Photoshop. Emma Bazilian

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Information Diet SpecsAge 28Accomplishments 2014 Sports

Illustrated Swimsuit Issue cover model; founder/writer of

So Delushious! cooking blogBase New York

Vanderpump Rules

The Real Housewives

This foodie has her own blog.

OPENENTRIES NOWI S A A C A W A R D S . C O MMARKETING & ADVERTISING

INVENTIONSCELEBRATINGIN MEDIA, TECHNOLOGY,

MEET THE JURYJURY CHAIRLORI SENECALChairman & CEO, kbs+

DIGITALWINSTON BINCHPartner & Chief Digital Of cer, Deutsch LA

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ERIKA NARDINIChief Marketing Of cer, Aol Advertising

MARKETING & ADVERTISINGCINDY GALLOP Founder & CEO, IfWeRanTheWorld/MakeLoveNotPorn

MATT JARVISPartner & Chief Strategy Of cer, 72andSunny

KATHY LEAKECo-Founder & CEO, LocalResponse

CLARK SCHEFFYAssociate Partner,IDEO

MEDIAALAN COHENCo-Founder, Giant Spoon

ANDREW ESSEXCo-Founder & Vice Chairman, Droga5

ARI LEWINECo-Founder & Chief Strategy Of cer, TripleLift

KEVIN SLAVINAssistant Professor of Media Arts & Sciences, MIT Media Lab

DONNA SPECIALEPresident, Turner Entertainment & Young Adults Ad Sales

BEST PRACTICESGAIL HEIMANNPresident, Weber Shandwick

SCOTT HESS SVP, Human Intelligence, Spark SMG

MARLA E. KAPLOWITZCEO, North America, MEC Global

LAURA NELSONSVP, Global Watch Marketing & Communications, Nielsen

STUDENTIN PARTNERSHIP WITH KBS+JONAH BLOOMChief Strategy Of cer, kbs+; Co-Founder, kbs+ Content Labs

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