#Cinema Advertising

Volkswagen has renewed its partnership with DCM to own the gold spot in more than 330 independent cinema screens nationwide. The deal will run for two years and has been brokered by DCM and Mediacom, with creative provided by adam&eveDDB.

The gold spot is the last piece of content before a film begins in cinemas, making it the most highly sought-after position. Volkswagen will be running the latest idents from its ‘See Film Differently’ initiative alongside its national brand campaign idents e.g. the latest ‘Polo Dad’ campaign, both by adam&eveDDB.

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Oz: The Great And Powerful 3D dominated the box office this weekend with a fantastic debut of £3.7m, the third highest opening of the year so far. Compare this to the opening weekend of Charlie and The Chocolate Factory back in 2005 (£7.9m), not quite as impressive perhaps, but the thing to bear in mind here is that title released at the height of the summer holidays. Oz will be on release over the upcoming Easter break, giving it a chance to catch up with Charlie’s final box office taking of £37.2m.

In the second slot of the top five, Steven Soderbergh’s Side Effects began its run with a positive start, clocking up £905k. Soderbergh’s last thriller, Haywire, debuted with £864k in 2011.

Third place was taken by Disney’s Wreck-It Ralph 3D, with £745k, bringing its cume up to £21.4m. This is now within a hairs breadth of Brave’s £21.5m final cume, expect this to be exceeded within the next week.

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Following the excitement of the London 2012 Games, the Olympic stadium will soon house music events with major summer concerts moving from Hyde Park in 2013.

Other venues including cinemas are looking for new and innovative ways to draw audiences. Using venues outside of their main purpose can attract new people, which means marketers can extend their brands’ reach through partnerships and sponsorships.

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For the first time Advertising Week, which has been running for nine successful years in New York, is coming to Europe and making its debut in London from Monday 18 March. It’s testament to the talent and success of the UK’s creative industries that Advertising Week has chosen London as its base and DCM is proud to be a partner to celebrate and showcase the new power of cinema advertising.

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Hutchinson 3 Mobile is on a roll with the new #Danceponydance creative currently playing in cinemas across the UK. The campaign has been created by Wieden + Kennedy, London and was booked by Mindshare.

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This April is notable for two things that are great for cinema admissions: the bulk of the Easter school holidays and later in the month, the start of the summer blockbuster season. It may not feel like summer in late April but the first of the year’s big superhero films, Iron Man 3 3D is released on April 26 and after that the tent-pole releases come thick and fast.

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Following the 85th Academy Awards ceremony last month, Digital Cinema Media’s (DCM) Simon Rees shares his highlights and looks ahead to what promises to be another strong year for the film industry.

The great, the talented and the beautiful of the world’s film industry gathered just over a week ago for the 85th Academy Awards, otherwise known as the Oscars. Some surprises were in store on an unpredictable evening, with the top categories (Best Film, Best Director, Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress) all going to different films. This demonstrates the variety and calibre of the films and acting talent in contention this year.

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From Nirvana sticksman to Foo Fighters frontman, and with a musical legacy spanning collaborations with Killing Joke, Queens of the Stone Age and Them Crooked Vultures, Dave Grohl has already achieved a career of legendary status in music. Sound City sees him turn his assured hand to directing, documenting the life of LA’s legendary Sound City recording studio.

Opened by joint owners Joe Gottfried and Tom Skeeter in 1969, Sound City housed over four decades of recorded music, journeying a roller coaster ride of financial peaks and troughs along the way. The documentary is split into three parts opening with the history of the studio, progressing to the impact of technology and finishing with an emphasis on the principals of musical performance and songwriting.

Skeeter admits that to achieve their goal of attracting the best artists throughout the inaugural years of Sound City Studios, they knew that only the best recording equipment would entice them. The acquisition of a custom Neve Mixing Console was exactly the piece of kit to assume the role of their star magnet. The console – considered by many as the Rolls Royce of mixing desks – was priced at over $70k, double what Skeeter had paid for a house at the time.

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Speaking to our independent cinema colleagues recently, alternative content is a growing and thriving area on many of your schedules. Cinemas are not the only places looking for new and innovative ways to draw audiences. Using venues outside of their main purpose can attract new people, which means marketers can extend their brands’ reach through partnerships and sponsorships.

Following the excitement of the London 2012 Games, the Olympic stadium will soon house music events with major summer concerts moving from Hyde Park in 2013. Marketing Week’s Mindi Chahal, takes a look at what is arguably the biggest change in the use of a venue in recent years and how the trend is spreading in other spheres including cinema, read on for her coverage on events in our industry.

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He may been knocked off his perch last weekend but he made it back to the top a week later, Wreck-It Ralph 3D eased less than 1% to £3.4m and a hugely impressive cume of £18.6m. It’s only a matter of time before Ralph overtakes Tangled’s final total of £20.5m and closes in on Brave’s £22.6m.

A Good Day To Die Hard fell 50% (not including previews) to £1.6m and dropped to second place in the process. It now has a cume of £8.2m and it’s going to have a hard time overtaking Die Hard 4.0’s final total of £13.9m. Creepy horror Mama was the highest new entry, in third place with £1.5m. That’s an improvement over both Insidious’ and Sinister’s £1.4m debuts in 2011 and 2012, respectively. Both those films went on to gross over £6m.

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