Transcript Chap014

chapter
14
Designing the Marketing
Program for The Lord of the
Rings
McGraw-Hill/Irwin
© 2004 The McGraw-Hill Companies, Inc., All Rights Reserved.
Designing the Marketing Program —
Today’s Objectives
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Objectives will be to:

Explore the levers for the marketing of The Lord of the Rings
(LOTR)

Examine how The Lord of the Rings marketing plan connects to
the relationship stages

Assess how and why The Lord of the Rings performed given its
marketing plan
Chapter 14: Designing the Marketing
Program

The Planning Stages as They Relate to LOTR

The Role of LOTR Partnerships

The LOTR Marketing Levers Through the Relationship
Stages

The Marketspace Matrix for LOTR

Conclusion
Chapter 14: Designing the Marketing
Program

The Planning Stages as They Relate to LOTR

The Role of LOTR Partnerships

The LOTR Marketing Levers Through the Relationship
Stages

The Marketspace Matrix for LOTR

Conclusion
Overview of the LOTR Brand
1. Framing the
Market
Opportunity

Strong, popular brand
2. Formulating
the Market
Strategy


4. Crafting the
Customer
Interface
3. Designing the
Customer
Experience
General target: 13-54
yr. old (male emphasis)
Core target: 18-34 yr.
old males
5. Designing the
Marketing
Program
6. Leveraging
Customer
Information
through
Technology
7. Evaluating
the Marketing
Program
Appropriateness of an Online
Interactive Campaign
Fit With the Internet
Does the personality of the
product align well with the Internet?
Two important issues to consider
when determining the
appropriateness of an online
marketing campaign:
Fit With the Target Audience
What are the Internet usage
characteristics of the target audience?
Exhibit 14.2: Expanding the Base
Exhibit 14.3: Timing
Overview of the LOTR Brand
1. Framing the
Market
Opportunity

Strong, popular brand
2. Formulating
the Market
Strategy


4. Crafting the
Customer
Interface
General target: 13-54
yr. old (male emphasis)
Core target: 18-34 yr.
old males
5. Designing the
Marketing
Program
3. Designing the
Customer
Experience



Functionality
Intimacy
Evangelism
6. Leveraging
Customer
Information
through
Technology
7. Evaluating
the Marketing
Program
Exhibit 14.4: Stages of Desired
Experience
Stages
Special “Metrics” for The Lord of the Rings
Experiencing
Functionality
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Experiencing
Intimacy
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Experiencing
Evangelism
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Trailer and video materials for viewing readily available
Navigation is simple and clear for downloads, community, cast and crew
information
Easy sign up for e-mail and promotions on homepage
Direct links for actions including ticketing, online ship sales and
merchandising
Website visitors articulated the value they derive from the site experience
Consumers “trust” the information they find on the site
Strong community has developed within site areas
E-mail interaction allowed for open, clicking and forwarding to others
Strong evangelical support from the user base
Trailer and new content postings are seeded throughout community areas
as well as on other sites and posting boards
Creates a strong sense of consumer ‘ownership’ of the brand
The website becomes a trusted friend
Overview of the LOTR Brand
1. Framing the
Market
Opportunity

Strong, popular brand
2. Formulating
the Market
Strategy


4. Crafting the
Customer
Interface

Design the 7Cs
General target: 13-54
yr. old (male emphasis)
Core target: 18-34 yr.
old males
5. Designing the
Marketing
Program
3. Designing the
Customer
Experience



Functionality
Intimacy
Evangelism
6. Leveraging
Customer
Information
through
Technology
7. Evaluating
the Marketing
Program
Exhibit 14.5: The 7Cs of
www.lordoftherings.net
Exhibit 14.9: Does Ticket Purchase End
the Customer Relationship?
POV 2
POV1
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Definitely going
to purchase
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Tickets are
purchased
New Line continues to deepen
the customer relationship
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Merchandise
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Home entertainment
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Updated website
Dissolution
Commitment
Commitment
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Definitely going
to purchase
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Tickets are
purchased
OR
In this scenario, getting consumers
to buy tickets to the movie
is the end goal, after which
the customer relationship is dissolved
Is Purchasing a Ticket Effectively
Dissolution?
Point-Counterpoint
Once the Ticket Is Bought,
the Relationship Is Over
The objective of driving
consumers to the commitment
phase is only to drive intent to
buy a ticket
The vast majority of revenue
for a movie comes from onetime ticket sales
A consumer’s interaction with
the brand after purchasing a
ticket is essentially irrelevant
— the studio no longer has a
reason to manage the
customer relationship

Commitment Goes Beyond
Purchasing the Ticket
Marketing plans should have
the objective of maintaining
post-ticket-purchase customer
commitment
Extended commitment leads
to viral marketing through
positive word of mouth
Keeping customers committed
can also lead to merchandise
sales and video sales
Internet marketing campaigns
generate e-mail lists for
permission marketing —
strong commitment maximizes
the value of such lists

Overview of the LOTR Brand
1. Framing the
Market
Opportunity

Strong, popular brand
2. Formulating
the Market
Strategy


5. Designing the
Marketing
Program
4. Crafting the
Customer
Interface

Design the 7Cs
General target: 13-54
yr. old (male emphasis)
Core target: 18-34 yr.
old males

Planning the Relationship
Stages
3. Designing the
Customer
Experience



Functionality
Intimacy
Evangelism
6. Leveraging
Customer
Information
through
Technology
7. Evaluating
the Marketing
Program
Exhibit 14.10: New Line’s Objectives
Across the Relationship Stages
Exploration/
Expansion
Awareness

Recognition of The
Lord of the Rings
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Knowledge that the
movie is coming out
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Initial awareness of the
books and themes of
the trilogy
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Further understanding
about plot, characters,
etc.
Commitment

Definite intent to see
the movie
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High level of
understanding about
The Lord of the Rings
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Recruiting others to
explore and to become
committed

Purchase tickets to the
movie
Consumers actively
finding out about the
movie
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People spreading the
“buzz”
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Growing desire/intent
to see the movie
Chapter 14: Designing the Marketing
Program

The Relationship Stages as They Relate to LOTR

The Role of LOTR Partnerships

The LOTR Marketing Levers Through the Relationship
Stages

The Marketspace Matrix for LOTR

Conclusion
Overview of the LOTR Brand
1. Framing the
Market
Opportunity

Strong, popular brand
2. Formulating
the Market
Strategy


Design the 7Cs

Planning the Relationship
Stages



Functionality
Intimacy
Evangelism
6. Leveraging
Customer
Information
through
Technology
5. Designing the
Marketing
Program
4. Crafting the
Customer
Interface

General target: 13-54
yr. old (male emphasis)
Core target: 18-34 yr.
old males
3. Designing the
Customer
Experience

Integrated plan
7. Evaluating
the Marketing
Program
Exhibit 14.11: AOL and The Lord of
the Rings Corporate Synergy Web
Chapter 14: Designing the Marketing
Program

The Relationship Stages as They Relate to LOTR

The Role of LOTR Partnerships

The LOTR Marketing Levers Through the Relationship
Stages

The Marketspace Matrix for LOTR

Conclusion
Exhibit 14.18: The Levers —
Awareness Stage
Online Levers
Offline Levers

AOL welcome page
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Movie trailers
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Moviefone
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TV commercials
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ICQ
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Radio
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Netscape
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Outdoor ads
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Spinner
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Print ads
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Winamp
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Retail point-of-purchase displays
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Digital City
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Partnerships and national promotions
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Compuserve
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Burger King
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AOL Service tie-in
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JVC
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Fansites
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Barnes and Noble
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New Line contests
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Online magazine promotions
American Library Association-Teen Read
Week
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NYTimes.com
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TV promotions-The WB Network
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Long-lead and fast-breaking campaigns
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TV programming and special promotions
Exhibit 14.23: The Levers —
Exploration/Expansion Stage
Online Levers
Offline Levers
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LordoftheRings.net website
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Prominent magazine coverage
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AOL Keyword “Lord of the Rings”
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TV programs
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Syndicated content
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E-mail marketing
Publisher Houghton Mifflin: New book
covers for The Lord of the Rings
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Apple Quicktime
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ALA Promotion: Teen Read Week
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In-theater sweeps
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Offline references to the website
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E! Online promotion
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Movie trailers
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PR coverage
Exhibit 14.26: The Levers —
Commitment Stage
Online Levers
Offline Levers

LordoftheRings.net website
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Merchandising
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Screensavers
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Publisher-Houghton Mifflin tie-in books
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Wallpaper
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Theatrical trailer (Fall 2001)
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Ticketing
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Shop@AOL
Sci-Fi Channel special, “Cinema
Beyond: A Passage to ‘Middle-earth’”
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AOL Wireless and VoiceStream
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Conventions (Comicon)
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Amazon

Warner Bros soundtrack
Exhibit 14.27: The Levers Across the
Stages
Exploration/
Expansion
Awareness
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
Offline
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Online
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Movie trailers
TV commercials
Radio
Outdoor advertising
Print advertising
Point-of-purchase
displays
Partnership and
Promotion
Burger King
Etc.

AOL
AOL Web Properties:
MovieFone, ICQ,
Netscape, Additional
Levers, other AOL
Properties
AOL Service Tie-In
Fansites
New Line Contests
Online Magazine
Promotions
Etc.
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Commitment
Prominent Magazine
Coverage
TV Programs
Publisher Houghton
Mifflin: Book of LOTR
ALA Promotion: Teen
Read Week
Offline References to
the Website
High-profile movie
premieres

LordoftheRings.net
website
AOL Keyword LOTR,
lord of the rings
“Syndicated” Content
Email Marketing
Apple QuickTime
In-theater sweepstakes
E! Online Promotions
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Mercahndising
Publisher-Houghton
Mifflin tie-in: Book of
LOTR
Theatrical Trailer (Fall
2001)
Sci-Fi Channel Special
Conventions (Comicon)
Soundtrack
LordoftheRings.net
Screensavers
Wallpaper
Ticketing
Shop@AOL
AOL Wireless &
VoiceStream
Amazon.com
Community
partnerships with
Netscape and ICQ
Chapter 14: Designing the Marketing
Program

The Relationship Stages as They Relate to LOTR

The Role of LOTR Partnerships

The LOTR Marketing Levers Through the Relationship
Stages

The Marketspace Matrix for LOTR

Conclusion
Exhibit 14.28: Marketspace Matrix for
LOTR
Exploration/
Expansion
Awareness
Commitment

Downloads

LOTR merchandise,
downloads, the Movie,
wireless ring tones and phone
icons
Outdoor ads, newspaper ads, magazine
ads, movie trailers, TV commercials, radio,
point-of-purchase displays
AOL Moviefone, AOL service tie-ins, New
Line contests, online magazine promotions

Magazine covers/feature articles
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LOTR store, LordoftheRings.net,
downloads, ticketing, trailers
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Consumer to consumer — “have you heard
about . . .”
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Consumer to consumer – deeper
interactions, chats/message boards, reading
the LOTR books
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Online community building sites and
developing content, going to the
movie
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Mass marketing channels (billboards,
TV, radio, major Internet portals)
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Newspapers, magazines
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Movie theaters
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Awareness-oriented mass marketing
levers, other partnerships (JVC,
Burger King)
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Magazine covers, online partnerships
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LOTR merchandise
Product
Price
Communication
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Community
Distribution
Branding
Chapter 14: Designing the Marketing
Program

The Relationship Stages as They Relate to LOTR

The Role of LOTR Partnerships

The LOTR Marketing Levers Through the Relationship
Stages

The Marketspace Matrix for LOTR

Conclusion
Designing the Marketing Program —
Conclusion

The marketing objectives for each phase should be defined
clearly and should provide a clear path to advance customers
through each of the phases.

Leveraging The Lord of the Rings brand and successfully
integrating the offline and online levers to give consumers a
consistent experience and to drive them toward commitment
were keys to the campaign.

New Line leveraged the power of individualization and
interactivity wherever possible. The power of the offline levers
to advance customers to commitment increased dramatically
when augmented by the 2Is of the online levers.