Film Distribution

UK Film Distribution Guide http://www.launchingfilms.com/uk-film-distribution-guide

You may hear or read a great deal about some actors and filmmakers. You may go regularly to local cinemas and watch lots of films at home. But did you know that, right at the heart of the film industry, there's a dynamic sector working to deliver the largest possible audience to every new release?

This is the distribution sector and it's vital to the health of the whole film economy.Distribution is the highly competitive business of launching and sustaining films in the market place.

Like other forms of entertainment, the film business is product-driven: the films themselves are the reason why most people buy cinema tickets. But how do people get to know about the range of films on offer, or coming soon, in the first place? How do they come to feel they want to see particular films and go to the cinema to do so?

UK film distributors alone spend around £300 million a year on bringing new releases to market, and building awareness and interest among audiences. It's a fast-moving, highly competitive, high-stakes business.

Visit FDA's lively microsite www.launchingfilms.info to explore the essential life of film after its production phase. You can watch some distributors talk about aspects of their jobs, you can check out the challenges involved in releasing a film from scratch, and there's a complete guide for you to download (free) and keep. Enjoy!http://www.launchingfilms.info/http://www.launchingfilms.info/step-step-guide/

Introduction: What is Distribution? http://www.screenonline.org.uk/film/distribution/distribution1.html

The history of film is usually related through the achievements of producers, directors, writers and performers. Making films, production, has always been perceived as a glamorous pursuit.

Alternatively, our personal understanding and appreciation of film is shaped by our experiences at the cinema. The exhibition of film is a commonplace, shared cultural activity highly visible in every city and town in Britain, constantly feeding the popular memory.

By contrast, distribution, the third part of the film supply chain, is often referred to as 'the invisible art', a process known only to those within the industry, barely written about and almost imperceptible to everyone else.

Yet arguably, distribution is the most important part of the film industry, where completed films are brought to life and connected with an audience.

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So what is involved in this invisible process? Distribution is about releasing and sustaining films in the market place. In the practice of Hollywood and other forms of industrial cinema, the phases of production, distribution and exhibition operate most effectively when 'vertically integrated', where the three stages are seen as part of the same larger process, under the control of one company. In the UK, distribution is very much focused on marketing and sustaining a global product in local markets.

In the independent film sector, vertical integration does not operate so commonly. Producers tend not to have long-term economic links with distributors, who likewise have no formal connections with exhibitors. Here, as the pig-in-the-middle, distribution is necessarily a collaborative process, requiring the materials and rights of the producer and the cooperation of the exhibitor to promote and show the film in the best way possible. In this sector, distribution can be divided into three stages - licensing, marketing and logistics

Digital Distribution

Towards the end of 2005, the UK distribution and exhibition sectors were starting to move towards digital distribution and exhibition. For exhibitors, digital projection, especially when married to the increasing use digital formats in production, can now replicate - if not surpass - the image quality of conventional 35mm cinema presentation. And, of course, digital sound systems have been used in cinemas for some time.

In distribution terms, the advantages of digital technology are even clearer, though perhaps longer term. Digital technology is seen to offer a more cost effective and logistics-light alternative to the tried and trusted, but unwieldy model of 35mm print distribution described above. It will, eventually, be cheaper and much less stressful to send films as computer files to cinemas across the UK, than to transport 20-25kg tins of film in the back of a van.

Digital distribution and exhibition on a large scale has started to appear in certain parts of the world, notably China and Brazil, where conventional logistics cannot, for one reason or another, efficiently bring together supply and demand. In the UK, digital technology has been embraced by the non-theatrical sector, in film societies and schools, where the use of DVD and mid-range digital projection has replaced 16mm.

The force of this change, coupled with the new capacity of technology to replicate 35mm imaging, has led the UK Film Council to establish a digital distribution and exhibition programme for the theatrical sector at the end of 2005. Entitled the Digital Screen Network (DSN), it will eventually support new facilities in 211 screens across the country (out of a total of just over 3,300 screens in the UK), and is seen as a small but important step change towards full digital cinema.

The DSN will initially work with files transferred from a high definition digital master (either HDD5, or HD Cam). The compressed and encrypted files will be sent directly to cinemas to be downloaded, de-encrypted (unlocked) and opened as files for screening with digital projection equipment. In principle, digital distribution will, in time, change the paradigm of 35mm print logistics. It will be possible for the distributor to send feature film files electronically, via broadband networks, thus eliminating dependence on transportation.

There is little doubt that the advent of digital distribution has the potential radically to alter the modus operandi of distributors around the world. The comparatively low cost of film copies and additional logistical effectiveness of digital distribution provide the distributor with greater flexibility. It will be less expensive in the coming years to offer a wide theatrical opening with many copies, and also conversely, to

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screen a film for just one performance at any cinema. In theory at least, it will be possible for both distributors and exhibitors to respond more precisely to audience demand.

All this suggests that in the future, more titles, both mainstream and specialised, will receive wide theatrical openings, and that this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months. Thereafter, films will enter into a second-run and repertory programming market aided by lower costs.

The shortened first-run period will in turn bring forward the distributor's release of the DVD. And there's the rub. The adoption of digital technologies offers greater opportunities for distributors to create joined-up campaigns for theatrical and DVD releases, in which, increasingly, the theatrical opening is used as a way of providing a loss-leading marketing platform for the highly lucrative DVD leg.

Licensing

Licensing is the process by which a distributor acquires the legal right to exploit a film. In distribution, licensing itself can take place on two levels.

International distribution ensures that films find their way to the 90+ market 'territories' around the world. The major US studios generally have their own distribution offices in all the major territories. By contrast, independent producers have to sell their films to different distributors in each territory. Independent production companies are usually small concerns, sometimes set up for one film and often lacking the necessary knowledge or contacts of each of the territories around the world. Instead of doing this themselves, they might choose to hire a specialist sales agent, whose function is to understand the value of a film in many different markets. The sales agent will then set up stall at the film markets that take place throughout the year.

Then there is 'local' distribution, which involves the distributor acquiring the licence to release and exploit the film in a particular country. The distributor will usually pay the producer a minimum guarantee for the licence. This fee will vary depending on the status and perceived commercial potential of the film, and on the range of rights that the distributor chooses to exploit. A distributor will usually be offered theatrical rights, for showing the film in cinemas; video rights, for video and DVD exploitation; and TV rights, if the distributor is able to sell the film to a broadcaster.

In addition to paying a fee to secure the film, the licence will stipulate that the distributor will also pay royalties to the producer, taken from the profits that the film generates. A local distributor will conventionally share profits equally with the producer for the theatrical leg, pay back higher royalties for broadcast rights, and lower for video/DVD.

Once the licence has been agreed, it is then the distributor's job to launch the film. In the UK, feature films are released initially theatrically (in cinemas). A theatrical opening is seen as the most effective way to create interest in a new film. The big screen is still the optimum setting for a film for both audiences and the filmmakers.

Some months following the theatrical release, a film will be packaged and released on DVD and VHS video, then on various forms of pay television and eventually, two years after opening in cinemas, on free-to-air television. The value of the film built up by its theatrical release reaps dividends throughout its release cycle, influencing the audiences and commercial value it subsequently commands. At every stage, the

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successful distributor must have an in-depth knowledge of the marketplace - which cinemas, video outlets and broadcasters can best draw an audience for its films - and of the variable marketing costs involved in releasing a film in that territory. The trick is to weigh up the two factors, to invest as much as is needed in promoting the film to draw out the maximum returns.

Marketing

The marketing of a film release revolves around two key questions: 'When?' and 'How?'

In the UK, new films are released theatrically on Fridays. The schedule for forthcoming releases is coordinated and published by the Film Distributors Association. A distributor will assess this schedule to identify a Friday release date where there are only a few films scheduled for release. Finding a 'light' week will ensure that there will be both screen space and adequate review column inches in the press allocated to any potential release. A further consideration for scheduling a release is the seasonality of the film. For example, it is widely assumed within the industry that specialised films have the greatest potential to reach audiences during the academic year. Finally, the distributor will try to position the film distinctively and avoid a release date occupied by other films with similar traits (story, subject, country of origin). In recent years in the UK, these two aspects of release planning have become increasingly difficult, as the release schedule has regularly featured over 10 new releases in a week.

After setting a release date, the distributor works towards the theatrical release, investing in the materials and the marketing campaign to support it.

The costs of theatrical distribution, met by local distributors, are often referred to as 'P&A', or Prints and Advertising. P&A are the nuts and bolts of marketing and distributing films into cinemas, the tools used by the distributor to create a public for its film. P&A also represent the bulk of the distributor's investment, after paying the initial fee for rights, and can range from less than £1,000 to over £1 million

Marketing: Prints and Advertising

The key elements of Prints and Advertising (P&A) that a distributor must consider at this stage are:

The quantity and production of release prints and trailers: Specialised films will often be released with fewer than 10 prints into key independent cinemas, with these prints subsequently 'toured' over a 6-month period to all parts of the UK. On the other hand, commercial mainstream films will often open on over 200 prints, simultaneously screening in all major UK towns and cities.

Press materials, clips reels, images, press previews, screener tapes: For the majority of releases, favourable press response is a key factor in developing the profile and desirability of a film. Distributors consider both the quality and breadth of coverage, and this is often inscribed into the nature and scale of a press campaign.

The design and printing of posters and other promotional artwork: The cinema poster - in the UK this means the standard 30" x 40" 'quad' format - is still the cornerstone of theatrical release campaigns. Numerous recent examples indicate that the poster design is highly effective in 'packaging' the key attributes of a film for potential audiences. Distributors will also consider other poster campaigns, ranging from Underground advertising to billboards.

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Advertising campaign - locations, ad size and frequency:Advertising in magazines, national and local newspapers works in tandem with press editorial coverage to raise awareness of a release. Press advertising campaign for specialised films will judiciously select publications and spaces close to relevant editorial. For mainstream films, scale and high visibility is the key. The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries. In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.

Press campaign / contracting a PR agency:Many independent distributors in particular do not have press departments, and will consequently hire a press agency to run a pre-release campaign. This is especially the case if the distributor brings over key talent for press interviews to support the release.

Arranging visit by talent from the film:The use of talent - usually the director and/or lead actors - wins significant editorial coverage to support a release. The volume of coverage can far outweigh the cost of talent visits.

Other preview screenings:A distributor will consider the use of advance public screenings to create word-of-mouth and advance 'buzz' around a film.

The Logistics of Distribution

The distributor will enter into an agreement with the cinema to screen the film on certain 'play-dates'. It is the responsibility of the distributor to arrange the transportation of the film to the cinema, as part of its wider coordination of print use across the UK. Logistics represents the phase of distribution at its most basic - supplying and circulating copies of the film to theatres, of tapes and DVDs to shops and video rental stores, and managing the effectiveness of the supply. The showing of films in cinemas is a time-pressured activity. Cinemas spend their money publicising film play-dates and times in local papers or through published programmes. There's an imperative for the distributor to deliver the film on time.

For UK theatrical exhibition, the distributor typically handles 35mm film prints. Each print can cost around £1,000 - or twice that if subtitled - so a degree of care is required of everyone involved in handling the print. In the UK, prints are generally broken down for ease of handling into smaller reels, each lasting around 18-20 mins when run through a projector at 24 frames per second. So a feature print, in its physical form, will usually be 5 or 6 reels, stored and supplied in a single hard case, weighing in at 20-25kgs. Prints are hired by the exhibitor for the duration of their play-dates, and therefore each print is made for repeat use. It's easy to see from this that, during the course of even a short theatrical release period, any single print needs to be moved many times from the main print warehouse, onto a delivery van, to the cinema, onto an assembly bench, through the projector and then back through the process and onto the next cinema.

35mm theatrical prints invariably suffer cumulative damage as they pass through different projectors, and the hands of various projectionists. There are also overheads incurred by the distributor for the storage of prints at the UK's central print warehouse in West London. For these reasons, each theatrical print has a finite lifespan. Distributor will invest in sufficient prints to provide optimum coverage through the first period of theatrical release, usually lasting up to 6 months. From this point on, many of the now used

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release prints will be destroyed, leaving only a small number to be used for second-run and repertory theatrical bookings through the remainder of the film's licenced period.

Who dominates UK film distribution? by Stephen Follows http://stephenfollows.com/who-dominates-uk-film-distribution/

It is becoming ever easier to make a feature film, thanks in large part to new technology which is cheaper and more accessible. We are currently in a boom for feature film production, with more films made in the UK last year than ever before. However, the size of movie audiences and the rate at which we watch films is not growing at the same speed. This means the ‘pressure point’ in the filmmaking process has shifted from “Will I get it made?” to “Will anyone see it?” I’m going to spend some time over the next few months looking at the situation UK filmmakers face when trying to get their film sold and seen by audiences. First up, let’s take a look at who is actually distributing feature films in the UK. In summary…

There were 698 films released in cinemas in the UK and Ireland in 2013 The number of film and video distributors has increased by 32% since 1996 In 2013, there were 470 companies focused on film and video distribution in the UK, only 127 of

whom actually released a film in UK cinemas that year The top 10 distributors account for 97% of the box office revenue Just three companies (StudioCanal, eOne and Entertainment) control half of all box office

income made on UK independent films.

More films in cinemas than ever before - The number of films being released in the UK and Ireland has doubled in the past 15 years. Last year, there were almost 700 films shown in cinemas in the UK and Republic of Ireland.

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And more distribution companies, too

Between 1996 and 2013, the number of companies engaged in ‘film and video distribution’ increased by 32%.

These figures come from the Office for National Statistics and so they are calculated using a slightly different method to the other data in this article. It mixes film and video distributors, whereas the other charts relate only to cinema distribution. Also, some of these companies will be ‘active’ as far as the Office of National Statistics is concerned but may not have distributed a film in the past year.

This means that the ONS 2013 figure of 470 film and video distributors is a lot larger than the BFI’s figure of 127 companies who actually distributed a film in cinemas in 2013.

Great, so the market is opening up?Nope. In 2013, the top 10 distributors controlled 96.5% of all the box office revenue. And despite the increase in the number of films on offer in cinemas, this has barely changed in the past 16 years.

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Who are the biggest players?Unsurprisingly, the major Hollywood studios dominate the distribution business.

However, under the surface we can see that who’s on top changes most years.

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Interestingly, the spike in 2012 for Sony is almost exclusively due to the most recent instalment of the Bond franchise. ‘Skyfall’ is the highest grossing film at the UK box office between 1989 and 2013, grossing £103 million.

Who’s on top for UK independent films?When we strip away the studio-backed films we see a very different scene. Together eOne, Entertainment and StudioCanal account for half of the box office generated by UK independent films.

These figures include distributors releasing two or more UK independent films in 2013. Artificial Eye Film Releasing was re-branded as Curzon Film World in April 2013

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Case study: Pride (2015)

It’s the summer of 1984 – Margaret Thatcher is in power and the National Union of Mineworkers (NUM) is on strike. At the Gay Pride March in London, a group of gay and lesbian activists decides to raise money to support the families of the striking miners. But there is a problem. The Union seems embarrassed to receive their support.

But the activists are not deterred. They decide to ignore the Union and go direct to the miners. They identify a mining village in deepest Wales and set off in a mini bus to make their donation in person. And so begins the extraordinary story of two seemingly alien communities who form a surprising and ultimately triumphant partnership. – Pathe blurb

BBC Films Production details

About BBC FilmsBBC Films is the feature film-making arm of the BBC. It is firmly established at the forefront of British independent film-making and co-produces approximately eight films a year. Working in partnership with major international and UK distributors, BBC Films aims to make strong British films with range and ambition. We are committed to finding and developing new talent, as well as collaborating with some of the foremost writers and directors in the industry.

http://www.bbc.co.uk/bbcfilms/articles/pride_shoot_date_set

http://www.bbc.co.uk/bbcfilms/film/pride

http://downloads.bbc.co.uk/bbcfilms/live/bbcfilms_brochure.pdf

Distribution (UK Pathe)The distribution of the film in the UK and France was handled by Pathé. CBS Films acquired the distribution rights for the film in the United States.

PATHÉ UKPathé UK has a major presence within the UK film industry, operating as a fully integrated studio. It is involved in all aspects of film-making, from production and development through to international sales and distribution. Pathé UK's productions range from Aardman's "Chicken Run" to Stephen Frears' "The Queen" to Danny Boyle's "Slumdog Millionaire".

PATHÉ EUROPESince it was established by Charles Pathé and his brother at the end of 19th century, Pathé has remained one of Europe's pre-eminent entertainment companies. With a reputation built on independence, innovation and quality, Pathé is the world's longest established film company, and now encompasses a diverse range of media and entertainment interests. Following the takeover of Gaumont Theatres, Pathé is continental Europe's leading cinema exhibitor, with over 1000 screens in France, The Netherlands and Switzerland. Pathé is one of the leading distributors and producers of films in France. The Pathé Library has the right to over 700 feature films, as well as the legendary newsreel archive. http://www.pathe.co.uk/filmdetail.aspx?section=dvd&view=s&filmId=738

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Pathe annual report linkhttp://www.pathe.co.uk/repository/AR2014.pdf

Following its award-winning bow at Cannes, the US distribution rights were snapped up by CBS Films, and Pride will reach Stateside screens just a week after it opens in the UK.http://www.digitalspy.co.uk/movies/feature/a596220/pride-filmmakers-on-making-a-very-uplifting-film-about-defeat.html#~peJavm5ld71o21

Article on CBS acquiring distribution rights for Pride – interestingly it is being promoted as a union film rather than gay rights.

CBS Films Buys Cannes Labor Union Movie 'Pride' July 10, 2014|Dave McNary | Variety

CBS Films has acquired U.S. rights to the British dramedy "Pride" two months after its premiere at the Cannes Film Festival. It's planning an awards season push with a Sept. 19 launch. Chares Gant called the film an "irresistible crowd pleaser" in his Variety review. "Pride" is directed by Matthew Warchus from a screenplay by Stephen Beresford. David Livingstone produced with Cameron McCracken, Christine Langan and Natascha Wharton exec producing. The cast includes Bill Nighy, Imelda Staunton, Dominic West and Paddy Considine. Set in the summer of 1984 during the National Union of Mineworkers' strike, the story centers on a London-based group of gay and lesbian activists raising money to support the strikers' families in Wales.Pathe is distributing the film in the UK, and France and Pathe International has sold the film throughout the rest of the world. Cameron McCracken and Pierre du Plessis of Pathe negotiated the deal with Scott Shooman for CBS Films.

http://articles.chicagotribune.com/2014-07-10/entertainment/sns-201407101647reedbusivarietyn1201260702-20140710_1_cannes-film-festival-gets-u-s-distribution-llc

Release dates and Exhibition

Pride premiered at the 2014 Cannes Film Festival, where it received a standing ovation and won the Queer Palm award.http://www.standard.co.uk/goingout/film/pride-cannes-film-festival--film-review-9437759.html

The film was also screened at the 2014 Toronto International Film Festival, with the Washington Post reporting that Pride was "hugely popular with preview and festival audiences".http://www.washingtonpost.com/blogs/style-blog/wp/2014/09/12/gay-activists-and-miners-on-strike-an-unlikely-pair-in-film-festival-favorite-pride/

It was released to cinemas throughout the UK on 12 September 2014.http://www.timeout.com/london/film/pride

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Marketing and Promotion

David Livingstone Pride producer discusses the difficulties in selling Pride

‘Pride’ Producer David Livingstone Moved From Marketing Movies to Making ThemIn 20 years at Polygram, Universal and Working Title, in both London and Los Angeles, David Livingstone mastered the art of selling quirky British movies to a global audience. He drove the campaigns for everything from “Four Weddings and a Funeral ” and “Trainspotting” to “Billy Elliot” and “Tinker Tailor Soldier Spy.”So it’s only fitting that, having decided in 2012 to quit as president of worldwide marketing and distribution at Working Title Films in order to strike out on his own as a producer, Livingstone should be rewarded with the Bafta for outstanding British debut, alongside writer Stephen Beresford, for “Pride,” the true-life story of others who left their comfort zone for the greater good — gay activists who help raise money for striking miners in ’80s Britain. He certainly didn’t pick an easy marketing proposition for his debut. “Maybe people would have thought I’d try to make a commercial romantic comedy,” Livingstone says. “A film about gays, lesbians and the miners’ strike was a very odd choice. I certainly didn’t have the solution on how to sell this to an audience. I just thought it was a great story.” Fortunately, Cameron McCracken, managing director of Pathe U.K., agreed. Pathe brought in Ingenious to co-fund the $13 million movie, alongside BBC Films and the British Film Institute. Their faith was rewarded when “Pride” was selected to premiere in Cannes’ Directors’ Fortnight, won best film at the British Independent Film Awards, and scored a Golden Globe nomination for comedy/musical, along with three Bafta nods. Within the industry, people noticed the meticulous attention to detail across all aspects of the production — the hallmarks of a producer who knows what he’s doing. The U.K. gross of $6.3 million was a good result for such a tricky sell, even if the film didn’t realize its principals’ wildest dreams of achieving the blockbuster status of “Billy Elliot” and “The Full Monty,” two other retro movies with working-class themes. (Released in the U.S. in September by CBS Films, “Pride” took in $1.4 million.) But like those two previous Thatcher-era comedies, “Pride” is now set to become an all-singing, all-dancing live show. http://variety.com/2015/film/global/pride-producer-david-livingstone-moves-from-movie-marketer-to-movie-maker-1201450931/

According to screendaily.com enthusiastic word of mouth will be the biggest marketing device for a film that appeals across the board from a generation who will invest in bittersweet nostalgia for the battles of their youth to a younger demographic won over by the humour, humanity and the impressive ensemble cast.http://www.screendaily.com/reviews/the-latest/pride/5072411.article

Controversy over the removal of the gay banner on the US DVD cover

In January 2015, it was reported that the cover of the US DVD release of the film makes no mention of the gay content. A standard description of "a London-based group of gay and lesbian activists" was reduced to "a group of London-based activists", and a lesbian and gay banner was removed from a photograph on the back cover.

British press reaction to the storyhttp://www.theguardian.com/film/2015/jan/08/no-gays-no-blacks-no-fat-people-film-advertising-betrayals

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BBC reached out to Ben Roberts, director of the BFI film fund that funded "Pride," who said, "I'm not surprised that the US distributors have taken a decision to sell more copies by watering down the gay content. I'm not defending it, it's wrong and outmoded, but I'm not surprised. It's an unfortunate commercial reality both here and in the US that distributors have to deal with and consider in getting films onto the shop shelf. LGBT material is largely marginalized outside of rare hits like 'Brokeback Mountain.'"http://www.bbc.co.uk/news/entertainment-arts-30693095

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The Story Behind The Controversial “Pride” DVD Cover

The words “lesbians and gays” that appear in the official description and art are nowhere to be seen on the American version, but a source close to the situation says CBS Films and Sony Home Entertainment are working together to find out the source of the change.Pride ended 2014 on a high note — with a Golden Globe nomination for Best Comedy or Musical — but it’s starting 2015 with a bit of controversy. The British movie, which tells the true story about a group of LGBT activists who helped a group of striking miners in 1984, was released in the U.S. on DVD on Dec. 23, and, as Pink News first noticed, the synopsis on the back of the DVD has been altered from the one on the movie’s official site and press release, seemingly in an effort to downplay the LGBT themes. Also, a banner in the original art for Pride that read “Lesbians & gays support the miners” has been removed from the image on the U.S. DVD box entirely.The original synopsis reads: “Pride is inspired by an extraordinary true story. It’s the summer of 1984, Margaret Thatcher is in power and the National Union of Mineworkers is on strike, prompting a London-based group of gay and lesbian activists to raise money to support the strikers’ families. Initially rebuffed by the Union, the group identifies a tiny mining village in Wales and sets off to make their donation in person. As the strike drags on, the two groups discover that standing together makes for the strongest union of all.”And the synopsis on the U.S. DVD box reads: “Pride is inspired by an extraordinary true story. It’s the summer of 1984 and much of blue-collar Great Britain is on strike. For one tiny Welsh village, the strike brings unexpected visitors — a group of London-based activists who decide to raise money to support the strikers’ families and want to make their donation in person. In this feel-good, heartwarming comedy, two groups seemingly from worlds apart, discover that standing together makes for the strongest union of all.” The latter refers to the group as “London-based activists” rather than the original synopsis’s “London-based group of gay and lesbian activists.”

However, a source close to the situation told BuzzFeed News this was not an intentional move by CBS Films, which acquired the U.S. distribution rights for Pridein July 2014 and embraced the LGBT themes. The DVD distribution rights, however, were outsourced to Sony Home Entertainment, and the source told BuzzFeed News that CBS Films had no control over or knowledge of the alterations to the DVD boxes, and those at the studio are unclear as to who made the changes. The source said Sony and CBS Films are working together to find out who altered the language and the artwork, and why. Though the DVD isn’t

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being recalled, the source said the studio and Sony plan to ensure that anywhere the synopsis appears online, it is the original version and not the one on the U.S. DVD.Pride was promoted with a heavily LGBT-centric campaign at the Cannes Film Festival, Toronto International Film Festival, and in advance of CBS Films’ Sept. 26, 2014, release in the U.S. The header image on the film’s official website still includes the banner that is omitted from the U.S. DVD cover.

UPDATEAt the time of publication, CBS Films declined to comment to BuzzFeed News and request for comment from Sony had not been answered.

Matthew Warchus, who directed Pride, issued the following statement to BuzzFeed News about the DVD packaging.“Pride is a film which plays incredibly well to a global mainstream audience of any political or sexual persuasion. It’s a film about two groups of people forming an unlikely alliance and fighting each others’ corners rather than just their own. It is probably one of the most political films ever to hit the mainstream and it is certainly one of the most loved films of the year (even by people who hate politics). I don’t consider it a ‘Gay Film’ or a ‘Straight Film’. I’m not interested in those labels. It is an honest film about compassion, tolerance, and courage.Marketing Pride has proved an interesting challenge from day one, and there are many people in the mainstream who have yet to see the film. My guess is some of those people are imagining that the film is maybe ‘too political’ for them, and some others are imagining it could possibly be ‘too gay’. As it happens, these concerns completely evaporate in the presence of the movie itself, but they are important when attempting to manage potential audience perceptions through marketing. Since the day I first read the script I have felt passionately that this film, of all films, deserves to find a fully diverse audience, from all walks of life. Indeed its’ very meaning and message is diminished the more ‘niche’ it becomes. I look forward to living in a world where these kinds of marketing negotiations are neither valid nor necessary — but we’re not there yet. In a sense, that’s why I made the film.For these reasons I don’t automatically condemn any attempt to prevent the movie being misunderstood as an exclusively “Gay Film”. I certainly don’t regard such attempts as homophobic.” Jan. 6, 2015, at 9:13 p.m. http://www.buzzfeed.com/emilyorley/the-story-behind-the-controversial-pride-dvd-cover#.gcoKzrJ68 Articles reporting the controversyhttp://www.theguardian.com/film/2015/mar/16/miners-lgbt-activists-pride-film-reunitehttp://www.bbc.co.uk/news/entertainment-arts-30679455

Gay rights organisation All Out organised a petition against CBS - ‘Please do not straight-wash the DVD cover of "Pride". It's a heart-warming true story of lesbian and gay people helping Welsh families in the 1984 miners' strike. By photo shopping out all references to gay and lesbian people, you're implying it's something to be ashamed of. And it's rewriting history in a wrongful way.’https://go.allout.org/en/a/pride-straightwashed/

http://www.mancunianmatters.co.uk/content/060172143-straight-washing-prides-us-dvd-cover-fine-if-it-reaches-more-people-claims-man

https://dearkitty1.wordpress.com/2015/01/07/film-pride-self-censorship-on-united-states-market/

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Case study: Star Wars – The Force Awakens (2015)

Star Wars: The Force Awakens (also known as Star Wars: Episode VII – The Force Awakens) is a 2015 American epic space opera film directed, co-produced and co-written by J. J. Abrams. The direct sequel to 1983's Return of the Jedi, The Force Awakens is the first installment of the Star Wars sequel trilogy, and stars Harrison Ford, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong'o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Peter Mayhew, and Max von Sydow. Produced by Lucasfilm Ltd. and Abrams' production company Bad Robot Productions and distributed worldwide by Walt Disney Studios Motion Pictures, The Force Awakens marks a break in creative control from the original series as the first Star Wars film not produced by franchise creator George Lucas. Set 30 years after Return of the Jedi, it follows Rey, Finn and Poe Dameron's search for Luke Skywalker and their fight alongside the Resistance, led by veterans of the Rebel Alliance, against Kylo Ren and the First Order, a successor organization to the Galactic Empire.

The Force Awakens was announced after The Walt Disney Company's acquisition of Lucasfilm in October 2012. It was produced by Abrams, his longtime collaborator Bryan Burk, and Lucasfilm president Kathleen Kennedy. Abrams and Lawrence Kasdan, co-writer of the original trilogy films The Empire Strikes Back (1980) and Return of the Jedi (1983), rewrote an initial script by Michael Arndt. John Williams, composer for the previous six films, returned to compose the film's score. Lucas served as creative consultant during the film's early production. Filming began in April 2014 in Abu Dhabi and Iceland, with principal photography also taking place in Ireland and Pinewood Studios in England, and concluded in November 2014. It is the first live-action film in the franchise since Star Wars: Episode III – Revenge of the Sith, released ten years prior in 2005.

Star Wars: The Force Awakens was widely anticipated, and Disney backed the film with extensive marketing campaigns. It premiered in Los Angeles on December 14, 2015, four days before its wide release worldwide. The film received generally positive reviews, with its ensemble cast, direction, musical score, visuals, effects, stunts and action sequences receiving particular praise, though some criticized it as too derivative of the original trilogy. The film broke various box office records and became the highest-grossing installment in the franchise, the highest-grossing film in North America unadjusted for inflation, and the third-highest-grossing film of all time, with a worldwide gross of over $2 billion and a net profit of over $780 million.[6][7] It received five Academy Award nominations and four British Academy Film Award nominations, where it won Best Special Visual Effects. Two sequels, Episode VIII and Episode IX, are scheduled for release in 2017 and 2019, respectively.

The film is the first live-action Star Wars film not to be released theatrically by 20th Century Fox; accordingly the film is not introduced with either that company's logo, or its signature fanfare composed by Alfred Newman. Shortly following Disney's acquisition of Lucasfilm, the studio had indicated that the then-untitled film would be released under the "Disney|Lucasfilm" branding, similar to the branding used for Star Wars Rebels, and akin to the "Disney·Pixar" co-branding of Pixar-produced films released by Walt Disney Pictures. Ultimately, Disney's logo was largely absent from the film's marketing—but nonetheless, appeared on merchandise—and the film was released with only Lucasfilm's production logo shown silently before the main titles; Disney chairman Bob Iger explained the change by saying it was "for the fans".

DistributorThe Walt Disney Studios

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Distribution

Walt Disney Studios Motion Pictures

In April 2007, Disney discontinued using the Buena Vista brand in its distribution branding. In 2009, Disney entered a distribution agreement with a reorganized DreamWorks; the deal called for an estimated 30 films over a five-year period from DreamWorks and they would be released through the Touchstone Pictures label. The distribution deal ended in 2016, after DreamWorks and Disney decided to not renew their agreement in December 2015, with Universal replacing Disney as DreamWorks' distributor. By the end of the deal, Disney had distributed 14 of DreamWorks' original 30-picture agreement. Disney took ownership of the DreamWorks II film library for loans made to that company.

Walt Disney Studios Motion Pictures has released the most films that have crossed the $1-billion-mark (twelve, in worldwide grosses) among major Hollywood studios, with nine of the twenty highest-grossing films of all time being distributed by Disney. In addition, Disney is the first of only three studios that have released at least two billion-dollar films in the same year (the others being Warner Bros. and Universal Pictures). Furthermore, Disney is the only studio that has achieved this four times, in 2010, 2013, 2015, and 2016. Four of the top five highest-grossing animated films have been released by Disney, as well as sixteen of the twenty highest-grossing G-rated films. In addition, four of the top-five opening weekends were Disney releases. In 2015, Disney achieved its largest yearly box-office gross worldwide and in North America. In 2016, Disney surpassed $6 billion in worldwide yearly box-office gross, surpassing the previous 2015 record.

In its 62-year history, Walt Disney Studios Motion Pictures has distributed 27 films that have received nominations for the Academy Award for Best Picture; four from Walt Disney Pictures, six from Touchstone Pictures, two from Hollywood Pictures, and fifteen from Miramax. Of those nominations, four Miramax films won the accolade; The English Patient (1996), Shakespeare In Love (1998), Chicago (2002), and No Country for Old Men (2007).

Walt Disney Studios Motion Pictures currently distributes films from Walt Disney Studios, other Disney film units and some third-party studios including:Walt Disney Studios[41] Active distribution deals

Walt Disney Pictures Walt Disney Animation Studios (DisneyToon

Studios) Pixar Marvel Studios Lucasfilm Disneynature Touchstone Pictures

Other Disney units

ESPN Films UTV Motion Pictures

Mandeville Films (1996–present)[42]

Mayhem Pictures (2002–present)[43]

Lucamar Productions (2012–present)[44]

Panay Films[45]

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In Russia and CIS, Mexico, Brazil, Thailand, Greece, Singapore and the Philippines, Disney films had been distributed in a joint venture with Sony Pictures Entertainment. In Japan, distribution rights are handled in partnership with Toho.

Other international distributors Turkey — Warner Bros. (1954–1994), United International Pictures (1994–present) Ukraine — United International Pictures, and Sony Pictures Releasing (2007–present) Kazakhstan — United International Pictures, Warner Bros., Sony Pictures Releasing International

(1997–present) Finland — Suomi-Filmi Belgium/Netherlands/Benelux — United International Pictures (1993–present)

Marketing and PromotionDisney backed The Force Awakens with extensive marketing campaigns. On November 28, 2014, Lucasfilm released an 88-second teaser trailer. It was screened in selected cinemas across the United States and Canada and in theaters worldwide in December 2014. It was also released on YouTube and the iTunes Store, generating a record 58.2 million views on YouTube in its first week. Critics compared the brief footage favorably to the production values of the original trilogy. The Hollywood Reporter called the trailer "perfectly potent nostalgia", praising its mix of old and new. Empire was impressed by the continuity with the first films – "the feel of classic Star Wars" – but noted the absence of Hamill, Ford, and Fisher and speculated about the significance of the new characters. The Guardian wrote that the use of the Star Wars fanfare by John Williams reinforced brand loyalty among fans.

On December 11, 2014, Abrams and Kennedy released a series of eight mock Topps trading cards revealing the names of several characters. On April 16, 2015, a second teaser trailer, this one lasting two minutes, was shown at the opening panel at the Star Wars Celebration in Anaheim, California. Lucasfilm president Kathleen Kennedy said the reaction to the trailer was "staggering... the entire room of almost eight thousand people just leapt to their feet and roared, I mean I can't think of anything I've ever been to – other than a rock concert – that felt quite like that." The trailer was viewed over 88 million times within the first 24 hours of release, breaking the record. According to the Guinness World Records, the second teaser trailer amassed 30.65 million in 24 hours, setting a new world record for the "most viewed movie trailer on YouTube in 24 hours." The event was broadcast live by Verizon on YouTube, StarWars.com and in movie theaters. The trailer shows many of the new characters and the first footage of Chewbacca and Han Solo. The Huffington Post's Graham Milne wrote that the trailer "was an affirmation of something that we'd long been told was never going to happen. This was a gift. This was faith rewarded. About damn time."

Vanity Fair was the first magazine to release an exclusive cover issue devoted to The Force Awakens. The magazine, released on May 7, 2015, featured exclusive interviews and photos of the cast photographed by Annie Leibovitz. At the 2015 San Diego Comic-Con International, in addition to a panel with many of the actors, a behind-the-scenes look at the film demonstrated the film's use of practical sets and effects. It was positively received, with Nigel M. Smith of The Guardian writing: "The featurette's angle is a strong one and connects with fans of the original trilogy in an incredibly poignant way. It also does a sly job of teasing Fisher's new look as Leia and Simon Pegg's mysterious involvement as a rumored alien in the movie, without actually showing the actors in action." Smith compared the marketing strategy for the film to that of a previous Abrams film, Super 8, saying "the promos... are notable for what they tease, not what they give away."

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Walt Disney Studios and Lucasfilm presented a look at The Force Awakens at Disney's D23 Expo in August 2015. Drew Struzan—who designed the poster artwork for the previous Star Wars films—produced a commemorative poster given to the event's attendees. In October 2015, Lucasfilm unveiled the theatrical release poster and a third trailer. The poster omitted Luke Skywalker and revealed a Death Star-like "orb." The trailer debuted during the halftime break of Monday Night Football, before being released online. The reaction to the trailer by fans on social media was "frenzied", with Lizo Mzimba of the BBC writing that "perhaps the most significant thing about the final trailer before the film's release is how little of the story it reveals." Robbie Collin of The Daily Telegraph felt the trailer was "a perfect blend of old and new, in keeping with the old-fashioned Star Wars aesthetic." The trailer received 128 million views in 24 hours, a new record for the most views of a trailer in 24 hours. 16 million of the views came from its airing on Monday Night Football. At the end of October, Air France announced a "Flight and Cinema" package, providing customers who book select flights to Paris transportation to a theater to see the film, since France is one of the first countries to release the film. On November 6, a Japanese trailer for the film was released. After seeing the new trailer Forbes' Ollie Barder stated the trailer gave him "hope" that the film would not "let us all down like the prequels did... [with] a worthwhile story this time." On November 23, a partnership with Google was announced, in which Google users could choose to affiliate themselves with either the Dark or Light Side, which would change the appearance of their Google websites. Additionally, Disney teamed up with Verizon to create a virtual-reality experience for Google Cardboard.

On December 17, 2015, select theaters across North America aired a Star Wars marathon, airing the six previous Star Wars episode films in 2D, followed by The Force Awakens in 3D. Attendees received a special lanyard featuring exclusive marathon art.

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Marketing links1. http://www.forbes.com/sites/alishagrauso/2015/12/28/in-hindsight-how-star-wars-

the-force-awakens-ran-a-great-marketing-campaign/#7381bb1c5852In Hindsight: How 'Star Wars: The Force Awakens' Ran a Great Marketing Campaign

2. http://screenrant.com/star-wars-7-force-awakens-marketing-franchises-trailer/

Star Wars: Episode VII – The Force Awakens won’t just go down as one of the year’s best films; the marketing campaign Lucasfilm put together is arguably one of the finest in recent memory.

3. http://knowledge.wharton.upenn.edu/article/star-wars-how-disney-awakened-its- marketing-force/

4. https://www.theguardian.com/film/2015/jul/10/star-wars-the-marketing-force- awakensAhead of the latest instalment, Star Wars: The Force Awakens, announcements of spin-off film about Han Solo and a return for Darth Vader are just the latest signs of branding savvy as Disney continues to expand the Star Wars universe

5. http://www.marketingweek.com/2015/12/02/star-wars-force-of-the-franchise- awakens/It is also likely The Force Awakens will represent the biggest promotional marketing campaign in the history of cinema. When Disney acquired Lucasfilm – the studio behind Star Wars – for $4.05bn (£3bn) in 2012, it did so with the twin aims of making more films to extend the saga while maximising the franchise’s marketing potential.

6. http://www.adweek.com/news/advertising-branding/disneys-massive-marketing-push-star-wars- was-relentless-also-masterful-168724The marketing push was so big that it was virtually impossible not to realize a new Star Wars movie was on the way. The team at Disney has masterminded this campaign from the moment they announced the film, and have obviously been at work since they announced a deal to acquire Lucasfilm in 2012.

7. http://theweek.com/articles/592226/brilliance-star-wars-marketing-campaign-all-about

8. http://www.thedrum.com/news/2016/01/08/force-awakens-earlier-ever-how-disney-leading-trend-early-digital-distributionThe Force Awakens hasn't been in the cinemas for a month yet and Disney is already plotting its digital release in homes, a move that highlights how filmmakers are upending the tried-and-tested way they distribute their films to maximise the reach of their brands.

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MerchandiseTie-in literature and merchandiseDisney Publishing Worldwide and Lucasfilm announced a series of "at least" 20 books and comics, titled "Journey to Star Wars: The Force Awakens", with releases from multiple publishers starting in late 2015, prior to the film's premiere. The series includes books by Del Rey and Disney-Lucasfilm publishers and comic books from Marvel Comics. All titles under the program are canonical to the Star Wars universe. Alan Dean Foster wrote a novelization of The Force Awakens which was released in e-book form on December 18. In an effort to avoid revealing plot details before the film's release, the print release of the novelization was delayed until January 2016. Marvel Comics published a six-issue comic book adaptation of The Force Awakens between June and November 2016.

Disney Consumer Products and Lucasfilm announced that September 4, 2015 would be deemed "Force Friday" and would be the official launch of all the merchandise for The Force Awakens. Beginning at 12:01 am, fans could buy toys, books, clothing and various other products at Disney Stores and other retailers throughout the world. Disney and Maker Studios hosted an 18-hour live-streaming presentation on YouTube, showcasing multiple merchandise products beginning on September 3, 2015. Among these products were a remote-controlled BB-8 developed by Sphero. Sphero had participated in a Disney-run start up accelerator in July 2014, where they were invited into a private meeting with Disney CEO Bob Iger, in which they were shown on-set photos and imagery of BB-8 before its public unveiling. Many retailers were unable to meet demand for Star Wars products.

http://www.disneystore.co.uk/star-wars/the-force-awakens

There are hundreds of official products available on the official Disney Store website and elsewhere..

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Home Media

Walt Disney Studios Home Entertainment released Star Wars: The Force Awakens via download and Disney Movies Anywhere on April 1, 2016, with a Blu-ray and DVD release on April 5. The home media release contains additional footage. On March 23, 2016, the film was leaked online prior to its original Blu-ray release and was downloaded more than two million times in twelve hours. In January 2016, it was confirmed that Starz would hold the U.S. premium television rights for The Force Awakens, having been released just before the end of Starz's output deal covering most Disney-released films, which includes releases through the end of 2015. The Force Awakens will be broadcast on all the Starz channels beginning on September 10, 2016. The equivalent rights in Canada will be held by Netflix. A Blu-ray 3D "collector's edition" of the film was released on November 15, 2016, including all the features of the original home releases, as well as several new bonus features, including new deleted scenes and audio commentary by Abrams. The package includes a Blu-ray 3D, regular Blu-ray, DVD, and digital copy of the film, as well as an additional Blu-ray disc for the bonus features.

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Case Study: Deadpool (2015)

Deadpool is a 2016 American superhero film directed by Tim Miller and written by Rhett Reese and Paul Wernick, based on the Marvel Comics character of the same name. It is the eighth installment in the X-Men film series, and stars Ryan Reynolds as the title character. In the film, antihero Deadpool hunts the man who nearly destroyed his life while also trying to reunite with his lost love.

Development began in February 2004 with New Line Cinema, but put the film in turnaround in March 2005, with 20th Century Fox buying the rights. In May 2009, after Reynolds portrayed the character in X-Men Origins: Wolverine, to the general disappointment of fans, Fox lent the film to writers, and Miller was hired for his directorial debut in April 2011. Enthusiastic acclaim for leaked CGI test footage by Miller in July 2014 led to Fox green lighting the film in September. Additional casting began in early 2015, and principal photography commenced in Vancouver from March to May.

It received several awards and nominations, including two Golden Globe Award nominations for Best Motion Picture – Musical or Comedy and Best Actor – Motion Picture Musical or Comedy, and a Producers Guild of America Award nomination for Best Theatrical Motion Picture. It also won two Critics' Choice Movie Awards for Best Comedy and Best Actor in a Comedy.

The film was also a commercial success, grossing over $783 million worldwide and breaking numerous box-office records, becoming the ninth highest-grossing film of 2016, the highest-grossing R-rated film of all time when unadjusted for inflation and the highest-grossing X-Men film. Shortly after the film's success, Fox ordered development of a sequel.

Distributors 20th Century Fox

20th Century Fox Netherlands (2016) (Netherlands) (theatrical) (through Warner Bros.) 20th Century Fox (2016) (Belgium) (theatrical) 20th Century Fox (2016) (France) (theatrical) 20th Century Fox (2016) (UK) (theatrical) 20th Century Fox (2016) (Indonesia) (theatrical) 20th Century Fox (2016) (Japan) (theatrical) 20th Century Fox (2016) (Singapore) (theatrical) 20th Century Fox de Argentina (2016) (Argentina) (theatrical) 20th Century Fox de Chile (2016) (Chile) (theatrical) 20th Century Fox of Germany (2016) (Germany) (theatrical) Big Picture 2 Films (2016) (Portugal) (theatrical) Centfox Film (2016) (Austria) (theatrical) Odeon (2016) (Greece) (theatrical) SF Film Finland (2016) (Finland) (theatrical) Sena (2016) (Iceland) (theatrical) Twentieth Century Fox C.I.S. (2016) (Russia) (theatrical) Twentieth Century Fox Film Corporation (2016) (USA) (theatrical) Warner Bros. F.E. (2016) (Philippines) (theatrical) Warner Bros. (2016) (Netherlands) (theatrical) (through) Westec Media Limited (2016) (Cambodia) (theatrical) 20th Century Fox Home Entertainment (2016) (Germany) (DVD) 20th Century Fox Home Entertainment (2016) (Germany) (Blu-ray) (DVD) 20th Century Fox Home Entertainment (2016) (USA) (Blu-ray) (DVD) Film1 (2016) (Netherlands) (TV) (limited) Fox-Paramount Home Entertainment (2016) (Finland) (Blu-ray) (DVD) (4K Ultra-HD Blu-ray) Hispano Foxfilms S.A.E. (2016) (Spain) (all media)

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Odeon (2016) (Greece) (Blu-ray) (DVD) SBP (2016) (Argentina) (DVD) SBP (2016) (Argentina) (video) (BD) Twentieth Century Fox Home Entertainment (2016) (Netherlands) (Blu-ray) (DVD)

Other Partnerships Manchester United to promote blockbuster films such as Deadpool at Old Trafford after forming partnership with 20th Century Fox

Manchester United have formed a global partnership with 20th Century Fox Club will promote firm's latest blockbuster movies throughout the season Blockbusters include Deadpool, X-Men: Apocalypse and Independence Day Striker Wayne Rooney celebrated the new venture by posing with Deadpool

Theatrical Release and Exhibition:Deadpool premiered in Paris on February 8, 2016, and was released on February 12 in the United States in IMAX, DLP, D-Box, and premium large format.

Reception - Box officeDeadpool grossed $363.1 million in the United States and Canada and $420 million in other countries for a worldwide total of $783.1 million, against a budget of $58 million. Worldwide, it was the ninth highest-grossing film of 2016, the highest-grossing R-rated film of all time (surpassing The Matrix Reloaded's $742 million), the highest-grossing X-Men film (surpassing X-Men: Days of Future Past's $747.9 million), and the highest-grossing 20th Century Fox film not directed by either James Cameron or George Lucas.

It had a worldwide opening of $264.9 million from 62 markets, which was the biggest of 2016 (now the third biggest), the biggest for an R-rated film, and the second biggest for Fox, only behind Star Wars: Episode III – Revenge of the Sith ($303.9 million). It recorded the biggest IMAX 2D worldwide opening of all time with $27.4 million from 606 IMAX theaters, eclipsing The Dark Knight Rises ($23.8 million).

The film became a massive box office blockbuster hit and a very profitable production for the studio, a surprise to some considering that the film was rated R, was not released in China, and was only shown in 2D and IMAX format in contrast to most superhero films also shown in 3D.

Marketing and Promotion

In July 2015, director Miller and several cast members attended the 2015 San Diego Comic-Con to present the trailer of the film, which received a standing ovation from attendees who requested that it be played again. Graeme McMillan of The Hollywood Reporter opined that Deadpool "looks like the first movie that talks to the fan audience in their own language", and praised the meta humor of the trailer, while Business Insider's Joshua Rivera gave the trailer a positive review for being "faithful to the source material", as well as for its humor and action.

In December 2015, Fox launched a viral marketing campaign titled "The 12 days of Deadpool", which consisted of one website posting new info about the film each day, with the culmination of a new trailer released on Christmas Day. The general marketing campaign for the film has garnered a positive reaction in the media; two particular items noted as effective were a campaign to feign Deadpool as a Valentine's Day romance film, and a billboard only containing the emoji "💀💩L" which journalists called "dumb, yet hilarious".

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On January 19, 2016, two supposed screenings of yet unseen footage in New York and Los Angeles turned out to be surprise screenings of the entire film; Screen Rant noted that fan reactions to the film were "overwhelmingly positive".

Reynolds promoted the film's DVD release with a guest appearance on the YouTube channel Screen Junkies, which makes "Honest Trailers" of films, costumed and characterized as Deadpool. The newspaper The Guardian described it as "Deadpool cheerfully pop[ping] up to offer wisecracking commentary on Honest Trailer's wisecracking commentary … on his own wisecracking commentary in the movie itself". Reynolds commented that he is a fan of the web series, and that the custom credits at the beginning of the film were taken from a similar section of those videos.

Marketing and Promotion Links

1. http://www.wired.com/2016/02/deadpool-marketing/

THE MOST ABSURD DEADPOOLMARKETING, FROM TINDER TO OBSCENE EMOJI

2. http://adage.com/article/media/inside-deadpool-s-top-marketing-strategy/302696/

Inside the Over-the-Top Marketing Strategy for 'Deadpool' - Social Media Can Still Make or Break a Movie Opening

3. http://screenrant.com/best-deadpool-marketing-stunts/?view=all

Just when we thought that life could not get any better for superhero movie fans, Deadpool and 20th Century Fox might be treating us to the best film marketing campaign in the history of cinema. It seems like, almost weekly, the Merc with a Mouth is up to something clever and humorous to celebrate the upcoming film.

4. http://www.forbes.com/sites/alishagrauso/2016/02/17/in-hindsight-how-the-marketing-for- deadpool-broke-the-mold/#5805bbd2684a

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20th Century Fox should turn around and give its marketing team a high-five right now, because those eye-popping numbers wouldn’t have been possible without the standout marketing campaign, which was ubiquitous in the last month leading up to release.

5. http://www.cnbc.com/2016/02/07/deadpools-secret-weapon-a-viral-social-media-campaign.html

Deadpool's secret weapon: A viral social media campaign

6. http://www.ew.com/article/2016/02/17/deadpool-viral-marketing-campaign

How Deadpool became a record-breaking viral sensationInside the marketing strategy that turned Ryan Reynolds' superhero movie into a game-changing blockbuster

7. http://wegotthiscovered.com/movies/20-best-moments-deadpools-marketing-campaign/

8. http://deadline.com/2016/02/deadpool-marketing-ryan-reynolds-box-office-1201703654/

‘Deadpool’: How Fox Turned Risque Superhero Into A Summer Smash In The Dead Of Winter. What’s the trick to opening an R-rated Marvel superhero film to a worldwide gross of $284.5M? Make sure your marketing campaign stays true to your film’s protagonist. In the case of 20th Century Fox’s near-yearlong promotion of Deadpool that meant keep it subversive, raunchy, hysterical and, above all, fearless.

9. http://www.dailymail.co.uk/sport/sportsnews/article-3433798/Manchester-United-promote- blockbuster-films-Deadpool-Old-Trafford-forming-partnership-20th-Century-Fox.html

Home mediaDeadpool was released on digital HD on April 26, 2016; and was released on DVD and Blu-ray on May 10, 2016

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