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MKT 499 Week 3 Notes

by: Emily Laurienti

MKT 499 Week 3 Notes MKT 499

Emily Laurienti

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About this Document

These notes cover Week three lectures and the guest speaker presentation. Let me know if you have any questions; you can email me at
The Art and Science of Producing and Marketing a Blockbuster
Prof. Gene Delvecchio
Class Notes
Marketing, blockbusters, movies
25 ?




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This 3 page Class Notes was uploaded by Emily Laurienti on Wednesday September 14, 2016. The Class Notes belongs to MKT 499 at University of Southern California taught by Prof. Gene Delvecchio in Fall 2016. Since its upload, it has received 10 views. For similar materials see The Art and Science of Producing and Marketing a Blockbuster in Marketing at University of Southern California.


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Date Created: 09/14/16
9.6.16  Antiheroes—a central character who lacks conventional heroic attributes o  100% morally pure 100% morally corrupt o Antiheroes land somewhere in the middle o Some characters can travel on the continuum, should have both mental and physical transformations Resolving Story Problems  Concept o Storyline—beginning, middle, and end o Action o Humor o Characters  Relevancy issues o Solution—go big or go home  big consumer emotion  Based on culture/trend  Relatable characters  Age/gender sensibilities  Action/Excitement Issues o Solution  Add a ticking clock  Add engaging battles  Real hero risks (have to believe they might fail)  Character friction  Suspense/surprise  Not funny enough o Solution—go extreme  Surprise/extreme/mega gross –Fear Factor  Pain—Jackass  Take the fish out of the water—Big  Embarrass/humiliate—Bridesmaids  Wit/Sarcasm—Seinfeld  Gender Battles—Taming of the Shrew  Too Confusing o Solution—  Untie knots  Reduce twists and turns  Not Different enough—(this isn’t a huge concern in Hollywood) o Solution—  Change hero demographic  Change hero persona (House as a drug addict doctor)  Change villain  Change era/locale  Change style/tone/genre  Make a drama into a comedy Batman vs. Superman—the concept was so strong, it didn’t matter that there were problems in most other aspects 9.8.16 Disney Presentation  Target Audience o 6-14 with an emphasis on 6-11 year olds o Core = 10 year old girl. If it doesn’t work for a 10 year old girl, it won’t succeed o 65% female 35% male o Disney XD was created to draw more boys, it has a viewing of 65% males 35% females o Tween—8 to 12 year olds. Not quite teens but outgrew their kid toys  Kids TV vs. Broadcast Primetime o Production—same basic inner workings o Age of leads—13 to 16. This can get tricky with child labor laws o Stories—must be relevant to age group. Friends fighting, school problems, etc. o Adult Presence—adults are only in shows to the extent that they’re relevant to a kid’s life, stories don’t revolve around the adult ever o “Kid Funny”—have to have more physical comedy, less wit and sarcasm o Brand Values—Disney prides themselves on the trust factor which means that parents can safely plop their kid in front of the TV and trust that they won’t see anything inappropriate  Original Series sections o Live action vs. animation o Development vs. current  Development Responsibilities  ID new possible projects  Develop for specific talent that has potential  Select projects  Select pilots to greenlight  Generate new ideas  Take pitches from writers  Oversee projects until and through the pilot  Current Responsibilities  Maintain quality of show  Deliver for network  Tailor storytelling to target audience  Evaluate material and pitch episode ideas  Give creative input from pitch to episode portrayal  Casting  Crafting a Series o Ideas  Fresh vs. Stale  Stale ideas—kid lawyer, kid mayor, etc. o Low concept vs. high concept  Low concept—easily believable, could happen. Needs a hook—Lizzie Maguire was low concept  High concept—not realistic. Wizards of Waverly Place, Hannah Montana, That’s so Raven o Single Camera vs. Multi camera  Single—tighter, can achieve more emotion—Lizzie  Multi—on stage w/ live audience and a laugh track. Four cameras, usually sillier—That’s so Raven o Sustainability  Needs to be broad so you won’t run out of stories  Want to have at least 100 stories o Overall series drive/conflict  Needs to have a deeper need that kids can connect with  Hannah Montana—Miley wanted to be liked for who she was not for being famous o Lead character  Gender/Age—usually start them at 13 so they can age to 16. Have to balance genders  Dimensional—character has to have a good personality, can’t be generic— Raven was a good example of this  Sympathetic—the character can’t always win or we won’t feel for them at all  Flawed—this allows conflict which adds interest  Relatability—emotions need to be real even if the situation isn’t  Kid’s world—how are you traveling between home and school? Has to make sense  Aspirational Quality—who do you want to be? Wish fulfillment  Kid Empowerment—kids watching these shows like to feel like they could be the main character and could have power. Achieve this through: o Giving them control o Skills/mastery (Hannah Montana singing) o Pranks/Mischief (especially when it tricks adults) o Secrets o Transformation o What obstacles/limitations exist


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