The magic, art and science of meshing branded content into films
The hippest, trendiest statement on today’s media landscape has become: “I’m working on a film!” Leaving many oohing and aahing in their wake, dizzy with the idea of cashing-in. And for the most part it is true. We are experiencing a new wave of cinematic revival and the development of an alternate and contemporary film industry. This trend is happily fuelled by a generation with a passion for creating stories that relate to the modern Pakistani cinema-goer, hungry for localised content at the swanky new multiplexes mushrooming across urban centres.
So if everyone who is anyone is currently yearning to make a film, where are the big bucks coming from to fuel this newfound passion? Without any real infrastructure in place for the development of the cinematic arts and box office sales or private funding sources only partly contributing to the bottom-line, it often falls to the filmmaker to find alternative sources of funding.
Pakistani filmmakers are being born through a diversity of backgrounds and industries: advertising, film school graduates, documentarians, writers and storytellers. Their artistic vision and integrity to storytelling will come from different spaces and hence, their approach to “where is the money coming from?” will lead to different internal conflicts.
What comes next may seem like it may involve selling a little bit of your artistic soul, but if used intelligently, can spell success for all involved.
The big bad world of brands!
Already opening up as one of the major sources of revenue generation to bring the vision of young filmmakers to life, brands are slowly beginning to see films as a new space through which to connect with consumers and audiences; something that goes beyond simply ‘sponsoring’ the screening of the latest Bollywood/Hollywood summer flick, but which will actually allow them to engage with audiences in a real and captivating way. In fact, an opportunity to align their brand’s values within a larger context. In short, this becomes a case not of what you say, but how you say it!
So how to intelligently and seamlessly weave a brand into your story, getting the best for both, yet not grabbing the attention of savvy consumers in a way that interrupts their narrative? We must remember that when a brand’s consumer becomes part of an audience for a film, their receptiveness to obviously branded content decreases; the thought of brands interrupting the sacred space of film has long been eyed with disdain by filmmakers and audiences.
It is for this reason that perhaps the good old days of blatant product placement may be over... whether you look at it globally or locally, we are dealing with a smarter audience living life in an on-demand, digital world.
A much-quoted and well-loved example of product placement comes from the Spielberg classic E.T. the Extra Terrestrial, a film that gave me one of my earlier cinematic experiences and a fondness for [candy product] Reese’s Pieces I am yet to outgrow (and now you know exactly how old I am!). The intelligent use of the brand that became famous as ‘alien candy’, both through the film and the tie-up with the brand’s advertising campaign at the time, allowed the brand to catapult to success, leaving M&Ms, the brand which was originally approached (but declined), in tears! Whilst this was fantastic at the time, and may still work well today, and is the very least level of sophistication we need to be aiming for locally, our current times allow us to up the ante to a different level and begin to move towards integrating content and making it part of the storytelling narrative.