April 13, 2010

Hey Buster, It's the EyeWonder Film Festival!


With the dog-days of summer just ahead, we look back to the Roaring '20s, an era when movie theaters used to advertise that the temperature was "20 degrees cooler" inside than on the street, sometimes with more emphasis on the cool, than the film title itself.

Conversely, these days, the reason to get someone's attention go see, rent for Netflix, or buy a film DVD is based "on its sizzle," which depends as much on the trailer as the film itself. Movie studios need an excellent rich media partner for its film trailers, who can help them raise the viewer's temperature!


It reminds us of the 1928 Buster Keaton film, "The Cameraman." Before air conditioning or the Internet, according to a few IMDB* reviewers, this was Buster's way for getting a special someone's attention:

"After becoming infatuated with a pretty office worker for MGM Newsreels, Buster trades in his tintype operation for a movie camera and sets out to impress the girl (and MGM) with his work".*

Keaton's "The Cameraman" is one of his very finest. The first picture he made after his newly inked contract with MGM, was generally considered to be his last masterpiece.

Today film studios such as MGM, Dreamworks, Focus Features, Fox, Lion's Gate, Magnolia, Miramax, Paramount, Sony, Universal and Warner Bros. use EyeWonder to help tell (and sell) their film's story. EyeWonder is without a doubt the coolest tool to play with, on both sides of the screen. Here's the Mad Ave Journal's "25-word pitch" how we see it:

Scene One: Picture you're a studio marketing or agency exec rushing about. You're about to get into a crowded elevator when you see someone in the hall. They caught your attention. You suddenly want to talk to them. You call their name and begin talking, all the while keeping your hand on the elevator door.

Your conversation is important enough to hold up everything and everybody, even with other execs in there with you!


It's decision time. Pressure's on. You're stealing the other elevator riders' time but "your" time is more important. Tension's building. Either you get out of the elevator or let the door close... Or do you?

You decide to focus on what you want to do instead. You think, "The heck with them. They can wait. This is important." It's an adrenaline rush.

The EyeWonder Film Festival units are like that. You didn't go to the site to see them, but once you got there, they caught your attention. You decided to hold things up. You think, "The heck with the site, it can wait. I want to check out this ad. This is more important."

It's spontaneous. The people will wait, the site content can wait. The one person who won't wait is you or your customer. Whether it's the temperature outside or inside a Media Buyer's mind, EyeWonder's now helping them tell and sell their brand story. They want to make sure that they have the right partner that's going to hold up the site elevator. They want something that is going to get their customer to stop; to hold things up. Everything else can wait. It's an adrenaline rush.


Producers and directors of EyeWonder's festival of films want you feel that way when their film short is seen. Producers such as Bob & Harvey Weinstein, Chris Briggs/Mike Fleiss, Christian Colson, Dave Chappelle, David C. Robinson, Marty Ewing, Paddy Cullen, Scott Aversano, Steve Golin and Yong-Bai Choi. And Directors such as Andy Fickman, Bong Joon-Ho, David Zucker, Eli Roth, Garry Marshall, Jon Kasdan, Michel Gondry, Neil Marshall, Simon West and Tom Dey.

They are watching the numbers; the studios are watching the numbers and EyeWonder's state of the art metrics system. The Mad Ave Journal will be producing a "Festival of Films" over the next several weeks.

Okay, here's the conflict resolution to our Rich Media movie. Your conversation's complete. The studio trailer's complete. Your EyeWonder brand experience is complete. You and your brand are going up!


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