Ben Butler looks at the online activity surrounding the recent ‘Cloverfield’ project and questions whether brands from other sectors can use online in a similar way.
The film industry has a longstanding relationship with the internet; film fans have been using the internet as a channel for discussing, debating and crucifying films for as long as the internet has been in existence. They are often experienced internet users and are willing to go looking for information and, more importantly, talk about whatever it is they find.
In recent months there have been two high-profile examples of studios discarding the usual practice of simply releasing information on their films, in favour of encouraging their potential audiences to use the internet to work for their reward.
Codename ‘Cloverfield’
The hotly anticipated new Batman film, The Dark Knight, used a combination of websites and user generated activity to reveal the first clear image of actor Heath Leger as the caped crusader’s infamous nemesis, the Joker. Since the ‘Cloverfield’ project campaign began, however, The Dark Knight has been pushed well and truly back into the shadows. Considering its lack of heritage and iconic characters, Paramount’s success in getting this film staring a cast of unknowns to the top of the movie fan’s must see film of 2008 list is a phenomenal achievement.
Even now, several weeks on from the initial burst of activity no one is entirely sure what the ‘Cloverfield’ project (why it is been dubbed 'Cloverfield' is also a mystery) or ‘1-18-08’ as it is also known actually is, but it is all the leading film websites and forums are talking about.
'Cloverfield' project)
It all began with the US release of Transformers. Ahead of the film there was a trailer that began with a leaving party and ended with downtown New York ablaze, the sound of some kind of creature and the head of the Statue of Liberty being hurled half the length of Manhattan. No film title was attached to the trailer and the only details included were what people are assuming are the release date '1-18-08' and that it involves Lost creator, JJ Abrams.
In the following weeks several websites have sprung up, two officially claimed to be part of the film, www.1-18-08.com which features two photographs from the night featured in the trailer and rather more confusingly a site that appears to be a Japanese iced drink. www.slusho.jp (See? We always tell people there’s scope for FMCG marketing online!)
Two other sites www.ethanhaaswasright.com and www.ethanhaaswaswrong.com that featured complicated puzzles, were subsequently revealed to in fact not be connected to the film, by Abrams himself in a letter to influential film site, Aintitcool.com. He also just happened to intimate that there are sites officially connected to the film that have yet to be found.
Perhaps wary of another 'Snakes On a Plane' - a film with a massive online buzz that ultimately did not deliver, Abrams downplayed the internet activity: “Yeah, we're doing some fun stuff on the web. But, obviously, if the movie doesn't kick some massive ASS, who gives a rat's about what's online? So as you can imagine, we're focusing mostly on THAT.”
Active marketing; a whole new level of interaction
The success of the ‘Cloverfield/ 1-18-08’ campaign relies heavily on the interest and engagement of the internet audience. Making the consumer a key part of the marketing process, so they immerse themselves within the brand, takes interaction to a whole new level.
Online and UGC represent an entertainment marketers dream but increasingly advertisers from a variety of other sectors are beginning to capitalise upon the opportunities these present the marketer.
At our recent Engage for Branding half-day conference a number of speakers discussed ‘active marketing’ - where consumers are encouraged to become actively involved in communications. It was argued that marketers should no longer dismiss such practices, simply because their brand might be perceived as being from a low interest sector. Engage for Branding showcased case-studies from sectors ranging from automotive and travel through to charity and finance that all looked to deliver communications that Martin Baillie of glue London summed up as being “bigger than the brief.”; campaigns that thrive or fail on the extent of the consumer interaction it generates.
Sony BRAVIA, Virgin Trains and VW have all created campaigns that transcend being just another marketing campaign in the eyes of their consumers. Each of them also managed to make their campaigns high impact, yet appearing as if from nowhere. Sony BRAVIA built on the massive success of their initial ‘bouncing balls’ campaign by making an event of its follow up ‘paint’ campaign to convert influential brand advocates. The recent Virgin Trains ‘Our Man In…’ city guide campaign looked to create a cultural springboard to bigger and better things by incorporating consumer contributions directly into the campaign. Similarly the VW's ‘Night Drive’ was such a powerful and well executed idea that consumers couldn’t help but engage with its powerful, emotive imagery.
It is clear that marketers from certain sectors will have to work harder than others to create a campaign that their consumers will want to become a part of to the same extent as a film or car brand, but as the examples mentioned here testify there are plenty of opportunities available to the bold marketer.
Glue London’s Bailie, reduced the reasons why these campaigns have proved so successful down to three key areas; they develop entertainment that sells, create stories that spread and think long term to build trust). Figuring out how a brand can tap into one or all of these is not easy, but getting something akin to the ‘Cloverfield’ effect could be obtainable with these ideas in mind.
