Wow, wow, wow! Big news—we’ve got a brand new Head Office. Our own canal house, right at Singel 258. Talk about the Amsterdam dream, right?
PS: If you’re swinging by, look up and see if you can spot our golden mascot perched at the top.
Congrats! Now let’s make it smell as good as it looks. Keep an eye on your mailbox… a little Marie-Stella-Maris (B Corp) magic might be heading your way! 😉📬
Societe 4 PLAY. Conseil , accompagnement et développement commercial ; KAM en freelance .Agent commercial pour les Sociétés : UPYAA ;MOLTO ;TMC ;PETIT POUCE FACTORY ; L'ATELIER GIGOGNE
Brand Creative with 20+ years of experience in Design, Branding, Campaigns & Retail, as well as leading creative teams. Previously at Ace & Tate, G-Star Raw & Nike.
Do we let what we love vanish before our eyes? Or do we start to consistently improve the good things we have all around us? Is the collapse of companies & festivals fully attributable to systemic design or perhaps because we forgot how to change and evolve?
https://lnkd.in/g_ru-X7M
What can we learn from Hollywood on promotion strategies around flagship content?
When you turn Wicked, a global theatre success, into a movie, you might think success is given. Over the past two decades, 65 million people have seen the play in 100 cities, and the show is in its 8,152th running on Broadway.
This is when Hollywood goes all in on the game's promotion side and brands everything from Thanksgiving parades to theme park stores and merchandise into movie promotion vehicles.
I find this doubling down fascinating as it shows us how potential big wins are secured less by the underlying movie assets and more around the winner-takes-it-all-all outcomes that drive promotion strategies
❓I am curious about what of your marketing assets you give this type of white glove treatment and goes all in on the promotion game? Or is this a reality we have to get ready for.
#Wicked#MarketingStrategy#PromotionStrategy#ThoughtLeadership
In my forty-five-year career in video, I’ve worked on a range of projects—from high-budget productions to smaller, more resourceful efforts.
Just for fun, amd to show how far technology has improved since the 70s and 80s, I wanted to show you some of my early work, and recently, I mention that in 1979 at age 14 I worked on Commander Cody’s 1979 music video Two Triple Cheese, Side Order Fries, which won an Emmy.
But another interesting project I worked on was a music video for MC Miker G for his song Show Em The Base, which aired on MTV Europe.
Made when I was in my early 20s, I did everything on this video – camera work, direction, editing.
MC Miker G (Lucien Witteveen) became a notable name in European music in the 1980s, especially with his hit *Holiday Rap,* a remix of Madonna’s *Holiday.* The song was a major success across Europe and was part of the hip-house movement that blended rap with dance beats.
For this video, we shot in Hollywood on a small budget—just five hundred dollars. Even with the limited resources, we made it work. The dancers were kids we recruited right off the streets in Hollywood on the day of the shoot. They jumped in without any prep, and it turned out great. The key goal for this video was to show that MC Miker G was in Hollywood, so we shot around iconic locations like the Hollywood sign and various other well-known spots around the area.
I used an old A/B roll editing system, which was more hands-on than modern digital setups. One of the tools that really added to the project was the Fairlight CVI, which allowed us to create trippy, surreal visuals that gave the video a unique style. The Fairlight CVI was a powerful tool back then, letting us manipulate video in real-time and add effects that were ahead of their time.
My career has taken me through a lot of different roles in video, from being a consultant on *Jurassic Park* to directing my own 35 mm indie feature film Breathing Room in 1996. I spent years working with *Access Hollywood* and NBC TV in the 2000s, and I’ve directed numerous commercials and political videos since then.
So, if you’re looking for someone with decades of video experience across various industries, I can bring that expertise to your project. And don’t worry—I probably won’t be using Super VHS for it.
https://lnkd.in/gpAsPVwj
What could happen if Live Nation loses its domination in live events and ticketing? Our friends at Situation have some thoughts:
Last week, the Justice Department sued entertainment giant Live Nation in an antitrust lawsuit claiming the company’s domination of the concert industry was stifling innovation and hurting consumers. The effects of this lawsuit are sure to be felt across the live entertainment industry:
(1) Data: As one can imagine, Live Nation holds a significant amount of targetable data on live event attendees across the country. This data is key to running efficient digital media campaigns that expand the reach to new audiences.
(2) Fees: The antitrust suit could force Live Nation to do away with fees which may set a precedent for ticketing platforms. As consumers get used to seeing transparency pricing, “Free-from-Fees” sales tactics may become obsolete.
(3) Buying Ahead: Before online ticket buying became the norm, lines would form around the block for the latest megahit. If buying early in person becomes something more regular for Live Nation concerts, there’s a world in which the excitement built around a box office opening is just a part of the marketing plan.
Read more: https://lnkd.in/eYxVVbpT [subscription required to read]
#SweibelArts#LiveNation#OnlineTicketing
April is turning out to be a blockbuster for Broadway, with five new productions joining the lineup and a familiar one returning. Attendance was strong across the board, with 30 out of 32 shows packing their theaters to 90% capacity or more. New additions include The Outsiders, The Wiz, Suffs, Hell’s Kitchen, and The Great Gatsby, while The Who’s Tommy neared the impressive $1 million mark in earnings in its first week.The 32 shows pulled in $37,095,505 for the week leading up to Easter (a 30% increase from the previous week) with total attendance reaching 271,802 (18% increase). So far this season, Broadway has amassed an impressive $1,285,177,052 in gross revenue, with a total attendance of 10,214,178, averaging 89% capacity. Great to see such strong numbers.
#broadway#theater#onstage#boxoffice#revenue#liveentertainmenthttps://lnkd.in/eae-wFty
🎬 I think it's great that film festivals are increasingly incorporating online screenings and extended virtual events into their annual programs, thereby expanding their reach and attracting more audiences across regions.
🌎 Accessibility is essential for any event organizer to keep in mind, but data also shows that younger audiences are finding their way to film festivals less and less. Online screenings and playlists are definitely one effective way to attract youth.
📲 Check out this fantastic online film festival happening right now.
Architecture & Design Film Festival
ADFF: ONLINE, https://lnkd.in/graMHTA7
🍿 Additionally, there's a blog post on Votemo's website about marketing strategies and useful tips for online festivals or for organizers of online industry events and conferences.
I hope this will be of help when planning your next festival: https://lnkd.in/gtn2gUNy
Please don't hesitate to share your thoughts in the comments section or contact me directly if you’d like to explore collaboration options.
#OnlineFestival#OnlineScreening#VirtualEvent#FilmFestival#IndustryEvent#FilmMarket#MarketingStrategy#Conference
Founder Ace & Tate
2mo😍