Jennifer Sparks, my co-presenter in the pitch, and our VP of strategic planning at Basement, did a great job outlining the foundational logic that led to the creative development. We start all projects like this with strategic planning foundation, a process that involves three primary stages. (S-5)
- Brand or product analysis
- Competitive landscape assessment
- Target audience analysis
Product analysis
In this case, the product is "Casablanca." And while film marketing tends to focus on the storyline of the movie, there were, in effect, two stories in this case: the story within the movie and the story about the movie. (S-6)
The story about the movie is to be expected for any film event of this magnitude. An Academy Award-winning film mysteriously vanishes, goes unseen for 65 years and then suddenly resurfaces. Every film site, blog or community and entertainment section of any sizable newspaper will be covering the story. Not to mention film schools, culture sites and even a lot of general interest publications. (S-9)
Then there's the story within the movie. (S-7) While Casablanca has a wartime setting and a considerable amount of drama and suspense, it's really a movie about love. More specifically, the sacrifices that the three protagonists are willing to make for love. Each proves a willingness to make major personal sacrifice to ensure the safety of the one they love.
Competitive landscape assessment
The McConaughey/Hudson movie we viewed as primarily a chick-flick, and too one-sided of a choice, even for Valentine's Day. The Michael Bay movie doesn't have a hope to pull a large female audience -- especially on Valentine's Day. And the "Sex in the City" show on TNT is a night in, not a night out, and thus not a romantic decision. Furthermore, while a night in might be a good option for many older couples, Valentine's Day is one of the few times a couple is likely to get a babysitter so they can spend a night out. (S-14)
So the niche for Casablanca is that of a romantic movie for women, while still appealing to men. It's a shared experience, which is especially key for Valentine's Day.
Target audience
We focused on two primary target groups, identifying smaller segments within each. The first target was influentials who would pick up the story early and relay it to friends. The second target was a broader interest group - those who would see the film for its entertainment quality, not its historical impact. (S-15)
The influentials include critics, classic film lovers and college students, particularly those studying film. Their emotional driver is discovery -- they want to be in the know; they want to be hip to the story about the movie; they want to know the intimate details that others don't.
Our strategy for reaching them was to tap them into the buzz around the found prints. (S-16)
The broader audience includes couples age 25-54, gays age 25-54 and singles age 25-54. These are people who are seeking love and connection. "Casablanca" has broad universal appeal, which enables them to connect with another via the movie in ways many films can't facilitate.
Our strategy for reaching them was to pitch "A romance movie with guts."