1 00:00:06,000 --> 00:00:10,000 Speaker 1: Avengers Infinity War is the latest movie from Marvel Entertainment. 2 00:00:10,520 --> 00:00:14,880 Speaker 1: Marvel's uncanny ability to crank out one multibillion dollar box 3 00:00:14,920 --> 00:00:18,400 Speaker 1: office behemoth after another is a testament to so many 4 00:00:18,480 --> 00:00:23,960 Speaker 1: things iconic, character, terrific casting, great, creative. But there's another 5 00:00:24,000 --> 00:00:28,160 Speaker 1: piece of this puzzle that gets overlooked marketing. Marvel has 6 00:00:28,240 --> 00:00:30,720 Speaker 1: mastered the fine art of promoting its films, and not 7 00:00:30,920 --> 00:00:34,519 Speaker 1: just through the usual billboards and travelers. Marvel gets the 8 00:00:34,520 --> 00:00:37,320 Speaker 1: word out through what it calls partnerships, which is a 9 00:00:37,400 --> 00:00:40,519 Speaker 1: kind of alliance between a piece of intellectual property and 10 00:00:40,560 --> 00:00:43,480 Speaker 1: a consumer brand. I think, for instance of the quid 11 00:00:43,479 --> 00:00:46,840 Speaker 1: pro quo promotion it might have spotted when Lexis showed 12 00:00:46,920 --> 00:00:49,600 Speaker 1: up in Black Panther. There's a fine art to this 13 00:00:49,720 --> 00:00:52,320 Speaker 1: little understood aspect of the industry. So we're going to 14 00:00:52,400 --> 00:00:56,280 Speaker 1: talk to one of its master practitioners, Marvel's Mindy Hamilton's 15 00:00:56,480 --> 00:01:02,200 Speaker 1: senior VP and Global Partnerships. So let's just start with 16 00:01:02,360 --> 00:01:06,160 Speaker 1: defining partnerships, what kind of deals you strike with brands. 17 00:01:06,200 --> 00:01:09,160 Speaker 1: And I know it's not a cookie cutter thing. It 18 00:01:09,560 --> 00:01:12,520 Speaker 1: is not, although sadly so many people do approach approach 19 00:01:12,560 --> 00:01:14,200 Speaker 1: it that way, and I think hopefully by the end 20 00:01:14,200 --> 00:01:17,720 Speaker 1: of this conversation, I will give some folks out there 21 00:01:17,760 --> 00:01:20,080 Speaker 1: some tips on how to break through that. UM. I 22 00:01:20,120 --> 00:01:22,960 Speaker 1: would say the dry definition of what I do is 23 00:01:23,480 --> 00:01:28,120 Speaker 1: UM I developed third party partnerships, brands relationships UM in 24 00:01:28,280 --> 00:01:32,440 Speaker 1: order to UM amplify our our efforts. And what is 25 00:01:32,600 --> 00:01:36,679 Speaker 1: entailed in partnerships can be the anything from product placement 26 00:01:37,200 --> 00:01:40,959 Speaker 1: to sourcing to um CO branded marketing campaigns on the 27 00:01:40,959 --> 00:01:43,240 Speaker 1: back end in the theatrical or in the home entertainment 28 00:01:43,240 --> 00:01:46,120 Speaker 1: window for films, or to help launch a TV show, 29 00:01:46,200 --> 00:01:49,600 Speaker 1: video game, UM or in the case of our digital content, 30 00:01:49,720 --> 00:01:53,200 Speaker 1: ramping up our new studio and content engine. So can 31 00:01:53,200 --> 00:01:55,440 Speaker 1: you give a specific example. I know you guys just 32 00:01:55,480 --> 00:01:58,560 Speaker 1: have this little movie out there called Black Panther and 33 00:01:58,640 --> 00:02:00,880 Speaker 1: a little car company called Like So that came together 34 00:02:00,920 --> 00:02:03,600 Speaker 1: in some interesting ways. Yeah, we did, UM I would say, 35 00:02:03,640 --> 00:02:05,840 Speaker 1: that's the exciting part. I gave you the dry definition. 36 00:02:06,000 --> 00:02:08,200 Speaker 1: The the exciting part of what we do is really 37 00:02:08,480 --> 00:02:12,240 Speaker 1: it's all about adventizing our releases. It's about amplifying that 38 00:02:12,320 --> 00:02:15,280 Speaker 1: emotional connection. So we get to play in a space 39 00:02:15,360 --> 00:02:19,440 Speaker 1: where UM, you know, people expect to see television spots, 40 00:02:19,440 --> 00:02:23,240 Speaker 1: Outdoor magazine covers all of those things that um Our 41 00:02:23,320 --> 00:02:25,639 Speaker 1: Genius marketing team has to get to. Those are the 42 00:02:25,680 --> 00:02:27,519 Speaker 1: nuts and bolts of the campaign. Where I get to 43 00:02:27,560 --> 00:02:30,480 Speaker 1: come in and play is I get to develop a 44 00:02:30,520 --> 00:02:33,800 Speaker 1: campaign with a brand to pop up in an unexpected place, 45 00:02:33,880 --> 00:02:36,639 Speaker 1: in an unexpected way. It allows me to go deeper 46 00:02:36,720 --> 00:02:38,960 Speaker 1: not only in a storyline or end in a character, 47 00:02:39,200 --> 00:02:41,800 Speaker 1: but it also allows me to go deeper into target 48 00:02:41,800 --> 00:02:44,640 Speaker 1: audiences and really funnel focus, so I can deal with 49 00:02:44,680 --> 00:02:47,760 Speaker 1: the brand per se like a general Mills and target 50 00:02:48,000 --> 00:02:51,240 Speaker 1: parents and kids, right, and then go over here and 51 00:02:51,280 --> 00:02:54,040 Speaker 1: I want to hit millennials and above with say such 52 00:02:54,080 --> 00:02:57,440 Speaker 1: a Lexus UM. I think the genesis of Lexus was 53 00:02:58,080 --> 00:03:01,160 Speaker 1: that was one of those beautiful things like this represented 54 00:03:01,560 --> 00:03:04,400 Speaker 1: not just performance and luxury as far as in their 55 00:03:04,480 --> 00:03:07,280 Speaker 1: DNA UM, but in addition to that, they were already 56 00:03:07,280 --> 00:03:10,800 Speaker 1: speaking to multicultural audiences, right. It was just a part 57 00:03:10,919 --> 00:03:14,520 Speaker 1: of their daily conversation UM and so it wasn't something 58 00:03:14,560 --> 00:03:16,720 Speaker 1: that it was they needed to grow or needed to 59 00:03:16,760 --> 00:03:19,040 Speaker 1: focus on, or something that was a new lever. So 60 00:03:19,360 --> 00:03:21,840 Speaker 1: that was really important. And the reason it's important is 61 00:03:21,840 --> 00:03:25,320 Speaker 1: when you're doing partnerships authenticity, there has to be some 62 00:03:25,440 --> 00:03:29,240 Speaker 1: authenticity to it. So UM, those conversations started a year 63 00:03:29,280 --> 00:03:32,120 Speaker 1: and a half, two years out. UM. We had no 64 00:03:32,160 --> 00:03:34,000 Speaker 1: idea the placement was going to be with The placement 65 00:03:34,120 --> 00:03:37,080 Speaker 1: ended up being Ryan Coogler did, but he didn't tell us, 66 00:03:37,120 --> 00:03:39,720 Speaker 1: which was great, Well, how do you navigate that part 67 00:03:39,720 --> 00:03:42,560 Speaker 1: of it? Because I can imagine a Ryan Coogler saying, oh, Brands, 68 00:03:42,560 --> 00:03:45,240 Speaker 1: that's this is a piece of art. So there's no 69 00:03:45,400 --> 00:03:48,360 Speaker 1: room for that. I will say that Ryan Coogler, who 70 00:03:48,400 --> 00:03:54,240 Speaker 1: is a massive, massive Marvel fan, UM happily UM wanted 71 00:03:54,280 --> 00:03:57,000 Speaker 1: to meet with Alexis folks Um when I came to 72 00:03:57,080 --> 00:03:59,160 Speaker 1: him and he said, you know, I said, listen, there's 73 00:03:59,160 --> 00:04:01,800 Speaker 1: certain placements are going to happen in this film. Auto 74 00:04:01,880 --> 00:04:03,840 Speaker 1: is one of them. I didn't have all the details, 75 00:04:04,280 --> 00:04:06,880 Speaker 1: and I said, I believe in this brand, Um, And 76 00:04:06,920 --> 00:04:08,400 Speaker 1: he said, you know what, bring him in. I want 77 00:04:08,400 --> 00:04:10,160 Speaker 1: to talk to them. I want to see the vehicle. 78 00:04:10,280 --> 00:04:12,760 Speaker 1: I want to see if it fits UM. And it was. 79 00:04:12,840 --> 00:04:14,720 Speaker 1: It was literally lightning in a bottle from the very 80 00:04:14,760 --> 00:04:16,960 Speaker 1: first moment he jumped on top of a million dollar 81 00:04:17,000 --> 00:04:20,000 Speaker 1: prototype car and took the position that we now know 82 00:04:20,160 --> 00:04:22,760 Speaker 1: and we see in film. Um. We had no idea 83 00:04:22,800 --> 00:04:25,120 Speaker 1: what he was doing, and he went, Yep, this feels right, 84 00:04:25,200 --> 00:04:27,000 Speaker 1: this is the one. And after talking to them and 85 00:04:27,240 --> 00:04:29,880 Speaker 1: getting a sense of their DNA and what they wanted 86 00:04:29,920 --> 00:04:32,080 Speaker 1: to do. UM, I think it was really impressed that 87 00:04:32,120 --> 00:04:35,240 Speaker 1: they wanted to start early out and build credibility and 88 00:04:35,240 --> 00:04:39,000 Speaker 1: a mythology with the character long before the film got here, 89 00:04:39,040 --> 00:04:42,680 Speaker 1: so that there was UM synergy and a built in audience. UM. 90 00:04:42,720 --> 00:04:44,240 Speaker 1: So he was he was on board right from the 91 00:04:44,240 --> 00:04:46,760 Speaker 1: get go. Well, I hear that, and it sounds like 92 00:04:46,880 --> 00:04:50,440 Speaker 1: what we call product integration is a big piece of 93 00:04:50,440 --> 00:04:54,960 Speaker 1: what partnerships is uh candidate is it more than that? 94 00:04:55,279 --> 00:04:58,359 Speaker 1: And Canada exist without that element? Do you have do 95 00:04:58,480 --> 00:05:01,200 Speaker 1: do deals where the product doesn't necessarily end up in 96 00:05:01,200 --> 00:05:03,880 Speaker 1: the movie. I would say we do more deals that 97 00:05:04,000 --> 00:05:06,839 Speaker 1: have no product placement. And I would say probably the 98 00:05:06,880 --> 00:05:11,239 Speaker 1: single biggest mistake that brands, unfortunately will make is thinking 99 00:05:11,279 --> 00:05:14,680 Speaker 1: that they have to be in the film. UM. And 100 00:05:14,720 --> 00:05:19,920 Speaker 1: and I get the attraction and when it's right, it's amazing. UM. 101 00:05:19,920 --> 00:05:23,080 Speaker 1: When it's not, brands can be disappointed. I find it's 102 00:05:23,160 --> 00:05:25,680 Speaker 1: usually checking a box with some executives to say, hey, 103 00:05:25,720 --> 00:05:28,240 Speaker 1: I got us in the film, um, but really you 104 00:05:28,279 --> 00:05:30,280 Speaker 1: have to understand like, what is this, what is the purpose? 105 00:05:30,320 --> 00:05:32,880 Speaker 1: What is it serving? Right? Does it serve the storyline? 106 00:05:33,000 --> 00:05:35,480 Speaker 1: Is it part of the character's DNA to have this 107 00:05:35,520 --> 00:05:38,400 Speaker 1: product or to use or interact with this product? Then 108 00:05:38,440 --> 00:05:41,680 Speaker 1: it makes sense. UM. But when we're looking at partnerships, 109 00:05:41,720 --> 00:05:44,400 Speaker 1: we're going even beyond that. So I would say beyond 110 00:05:44,480 --> 00:05:47,480 Speaker 1: auto and tech categories, which you tend to find UM 111 00:05:47,520 --> 00:05:50,560 Speaker 1: integrated into films more more than not. UM. But there 112 00:05:50,560 --> 00:05:52,240 Speaker 1: are a lot of examples that aren't. One of the 113 00:05:52,279 --> 00:05:55,280 Speaker 1: biggest UM examples I have of of a campaign where 114 00:05:55,320 --> 00:05:58,040 Speaker 1: they just took controls to rid Us and Guardians of 115 00:05:58,080 --> 00:06:02,760 Speaker 1: the Galaxy. Um, they knew that music huge piece of 116 00:06:02,800 --> 00:06:05,039 Speaker 1: that movie, right was it knew the soundtrack was going 117 00:06:05,120 --> 00:06:07,960 Speaker 1: to be amazing UM, and they came up with a 118 00:06:07,960 --> 00:06:12,280 Speaker 1: creative way to put the soundtrack on the bag of doritos, 119 00:06:12,360 --> 00:06:14,680 Speaker 1: so literally, you could play the soundtrack off your bag 120 00:06:14,720 --> 00:06:16,800 Speaker 1: of Doritos. They put it on sale, It's sold out 121 00:06:16,800 --> 00:06:19,839 Speaker 1: in less than ten minutes on Amazon and was a 122 00:06:19,920 --> 00:06:23,120 Speaker 1: huge darling of the overall Guardians of the Galaxy campaign. 123 00:06:23,440 --> 00:06:27,400 Speaker 1: No placement. It's it's about creativity, It's about what is 124 00:06:27,440 --> 00:06:29,719 Speaker 1: making the property the I p. Why am I tying 125 00:06:29,760 --> 00:06:31,800 Speaker 1: into it? Is it because it's music? Isn't because of 126 00:06:31,839 --> 00:06:34,760 Speaker 1: the character, the storyline, what it represents. And I think 127 00:06:34,800 --> 00:06:37,680 Speaker 1: that's another beautiful thing with Marvel and the ways you 128 00:06:37,720 --> 00:06:41,680 Speaker 1: can play. When people come into deal with a Marvel 129 00:06:41,720 --> 00:06:44,520 Speaker 1: partnership or coming to deal with a Marvel film, there 130 00:06:44,560 --> 00:06:47,240 Speaker 1: are so many lovers. They come in because it's action adventure. 131 00:06:47,520 --> 00:06:49,159 Speaker 1: They come in because of the humor, They come in 132 00:06:49,200 --> 00:06:51,839 Speaker 1: because of the heartfelt story. They come in because they've 133 00:06:51,839 --> 00:06:54,120 Speaker 1: been a fan of the comic or the character for 134 00:06:54,200 --> 00:06:56,120 Speaker 1: you know, decades and they want to now see it 135 00:06:56,200 --> 00:06:59,360 Speaker 1: on the screen. So there are multiple entry points for 136 00:06:59,440 --> 00:07:01,960 Speaker 1: brands to be able to play, and that's that's great 137 00:07:02,040 --> 00:07:04,839 Speaker 1: for us, you know, to be able to carry that 138 00:07:04,920 --> 00:07:08,000 Speaker 1: storyline and to be able to market those things outside 139 00:07:08,120 --> 00:07:10,840 Speaker 1: of what maybe traditionally we need to do from a 140 00:07:10,840 --> 00:07:14,120 Speaker 1: film traditional film marketing perspective with TV spots and outdoor 141 00:07:14,120 --> 00:07:16,080 Speaker 1: and things like that. Well, that's the thing. There was 142 00:07:16,120 --> 00:07:18,600 Speaker 1: a day where you just as a marketer in the 143 00:07:18,640 --> 00:07:22,480 Speaker 1: studio system worried about your billboards and your thirty second spots. 144 00:07:23,400 --> 00:07:27,200 Speaker 1: I understand what partnership, what brands get out of partnerships 145 00:07:27,280 --> 00:07:29,520 Speaker 1: is what you as a studio get out of it 146 00:07:30,080 --> 00:07:34,600 Speaker 1: or a content company is Lexis for instance, or some 147 00:07:34,640 --> 00:07:38,000 Speaker 1: other product allows you to reach an audience in a 148 00:07:38,080 --> 00:07:42,640 Speaker 1: way that the traditional marketing mix does not. And and 149 00:07:42,720 --> 00:07:46,640 Speaker 1: it's it's twofold. I mean brands, I mean Lexus got 150 00:07:46,640 --> 00:07:51,000 Speaker 1: a heck of a lot out of that. Undoubtedly, Um, 151 00:07:51,080 --> 00:07:54,320 Speaker 1: we also got a lot from that partnership. So what 152 00:07:54,400 --> 00:07:57,160 Speaker 1: are the things that we get. We're able to reach 153 00:07:57,240 --> 00:08:00,440 Speaker 1: audiences and fans in an unexpected way or in an 154 00:08:00,520 --> 00:08:04,120 Speaker 1: unexpected place, which adds to the tidal wave the aventization 155 00:08:04,320 --> 00:08:07,600 Speaker 1: of things. Um, I think that's the first. I can't 156 00:08:07,600 --> 00:08:11,160 Speaker 1: go buy a Cereal box, right, can't go buy media 157 00:08:11,280 --> 00:08:14,920 Speaker 1: in an Alexis dealership. So when we're when we're in 158 00:08:14,960 --> 00:08:18,400 Speaker 1: those places and we're popping up, it becomes a part 159 00:08:18,400 --> 00:08:21,960 Speaker 1: of fans daily's lives. That's incredibly valuable, not just for 160 00:08:21,960 --> 00:08:24,840 Speaker 1: the film, but it's incredibly valuable for the overall franchise. 161 00:08:25,240 --> 00:08:27,320 Speaker 1: The other thing that they bring to the table, every 162 00:08:27,480 --> 00:08:30,480 Speaker 1: every partner is different, you know. Um, they bring a 163 00:08:30,480 --> 00:08:33,160 Speaker 1: lot of media support, co branded media support, which is 164 00:08:33,280 --> 00:08:36,959 Speaker 1: extremely valuable. Um. They may support our premiers, they may 165 00:08:37,080 --> 00:08:43,040 Speaker 1: do experiential events, PR every single partner campaign. This high 166 00:08:43,080 --> 00:08:45,920 Speaker 1: level macro way to think of it is a mini 167 00:08:46,160 --> 00:08:49,360 Speaker 1: marketing plan. So you've got your traditional film marketing plan 168 00:08:49,880 --> 00:08:53,000 Speaker 1: of all the traditional disciplines that are film marketing. And 169 00:08:53,000 --> 00:08:59,040 Speaker 1: then from a partnership perspective, every brand is doing media PR, digital, 170 00:08:59,240 --> 00:09:03,440 Speaker 1: the whole, the whole suitet um creative and so you've 171 00:09:03,440 --> 00:09:06,720 Speaker 1: got little amplifications and if you do it right, and 172 00:09:06,760 --> 00:09:09,439 Speaker 1: you're doing it to specific target audiences or to give 173 00:09:09,760 --> 00:09:13,439 Speaker 1: the campaign, help round out the campaign, Like the studio 174 00:09:13,480 --> 00:09:15,440 Speaker 1: may want to focus on humor and we're like, great, 175 00:09:15,800 --> 00:09:18,800 Speaker 1: we've got a Geico over here. Geico does the most 176 00:09:18,880 --> 00:09:22,240 Speaker 1: amazing creative humor spots. It'll round it out and like 177 00:09:22,320 --> 00:09:26,120 Speaker 1: seeded into pop culture and just help elevate everything. So 178 00:09:26,160 --> 00:09:29,920 Speaker 1: it's a very multifaceted mix. And from what I can 179 00:09:29,960 --> 00:09:34,079 Speaker 1: see also is it's not just about something that appears 180 00:09:34,120 --> 00:09:37,320 Speaker 1: in the movie or something that's immediately before the movie. 181 00:09:37,360 --> 00:09:39,520 Speaker 1: You kind of have to take a longer term view. Yep, 182 00:09:39,679 --> 00:09:41,320 Speaker 1: you do have to take a longer term view. And 183 00:09:41,360 --> 00:09:44,520 Speaker 1: I would say um in partnerships too, because you know, 184 00:09:45,920 --> 00:09:48,200 Speaker 1: we want to make sure we hit those traditional windows, 185 00:09:48,240 --> 00:09:51,040 Speaker 1: the theatrical window, which partnerships tend to happen anywhere from 186 00:09:51,080 --> 00:09:53,800 Speaker 1: six to eight weeks within that theatrical release, and then 187 00:09:53,840 --> 00:09:56,480 Speaker 1: again you replicate that same time frame in a home 188 00:09:56,600 --> 00:10:00,560 Speaker 1: entertainment release. I think the art of partnership and helping 189 00:10:00,559 --> 00:10:04,920 Speaker 1: build and supporting franchises and those film windows is operating 190 00:10:04,920 --> 00:10:06,880 Speaker 1: in between. So what do I mean by that? It 191 00:10:06,920 --> 00:10:09,600 Speaker 1: could be doing a partnership with a video game UM 192 00:10:09,640 --> 00:10:12,680 Speaker 1: that has similar characters or digital content, but it also 193 00:10:12,800 --> 00:10:15,560 Speaker 1: may mean using that film I p out of window. 194 00:10:15,720 --> 00:10:18,600 Speaker 1: Good example of that was a partnership that we did 195 00:10:18,679 --> 00:10:20,240 Speaker 1: with Cope. They came and they wanted to do a 196 00:10:20,280 --> 00:10:23,880 Speaker 1: Super Bowl campaign that was long before we were launching 197 00:10:23,920 --> 00:10:30,239 Speaker 1: Captain America Civil War, And happily filmmakers and marketing executives 198 00:10:30,600 --> 00:10:32,360 Speaker 1: allowed me to take a risk, and I said, I 199 00:10:32,360 --> 00:10:34,560 Speaker 1: think this is going to help not just from a 200 00:10:34,600 --> 00:10:37,960 Speaker 1: franchise perspective, but it's actually gonna help seed some of 201 00:10:37,960 --> 00:10:40,240 Speaker 1: that excitement for what they're going to see in the 202 00:10:40,280 --> 00:10:43,880 Speaker 1: film later on UM And and it was a lightning 203 00:10:43,960 --> 00:10:46,400 Speaker 1: rod and I it was huge for Coca Cola, was 204 00:10:46,440 --> 00:10:50,080 Speaker 1: huge for us. It electrified the fans because Hulk and 205 00:10:50,120 --> 00:10:53,000 Speaker 1: ant Man met for the first time. So that was 206 00:10:53,040 --> 00:10:56,000 Speaker 1: a huge conversation piece. So when when you're able to 207 00:10:56,080 --> 00:10:59,200 Speaker 1: remain authentic, add something new and do it out of window, 208 00:10:59,440 --> 00:11:02,720 Speaker 1: it's actually really really interesting um and and can help 209 00:11:03,000 --> 00:11:07,040 Speaker 1: sort of lift not just those tentpole moments but overall franchise. 210 00:11:07,800 --> 00:11:11,959 Speaker 1: So as you pursue these partnership deals, what is the dynamic? 211 00:11:12,120 --> 00:11:16,280 Speaker 1: Are you outside the door of Doritos or Lexus or 212 00:11:16,360 --> 00:11:19,040 Speaker 1: the brands I would imagine Marvel must have a long 213 00:11:19,080 --> 00:11:22,360 Speaker 1: line of brands waiting outside wanting to get into these 214 00:11:22,400 --> 00:11:25,920 Speaker 1: movies and do other things. How do you sift? So? 215 00:11:26,000 --> 00:11:30,880 Speaker 1: I think, um, there are usual suspects brands that play 216 00:11:30,920 --> 00:11:34,679 Speaker 1: in this space um and and they are constantly they 217 00:11:34,679 --> 00:11:38,640 Speaker 1: see the value in in film entertainment partnerships. And so 218 00:11:38,679 --> 00:11:40,600 Speaker 1: there will be the usual suspects that you either go 219 00:11:40,679 --> 00:11:42,240 Speaker 1: to or that will be coming to you. That that 220 00:11:42,520 --> 00:11:46,000 Speaker 1: just you know, the regular you know meetings, annual meetings. 221 00:11:46,760 --> 00:11:51,200 Speaker 1: What I try to pride um ourselves on is you know, 222 00:11:51,240 --> 00:11:52,920 Speaker 1: and I'm gonna say it, we we we like to 223 00:11:52,960 --> 00:11:58,240 Speaker 1: do cool ships and sometimes that means unexpected brands um 224 00:11:58,280 --> 00:12:01,959 Speaker 1: things that have never done a film partnership before. That's 225 00:12:01,960 --> 00:12:04,679 Speaker 1: more important to me than going to the usual suspects, 226 00:12:04,720 --> 00:12:06,520 Speaker 1: even if they are knocking on my door or even 227 00:12:06,559 --> 00:12:09,200 Speaker 1: if I'm knocking on their door for other things. Um 228 00:12:09,200 --> 00:12:13,280 Speaker 1: it really I find that the things that the unexpected, 229 00:12:13,440 --> 00:12:15,520 Speaker 1: like a Geico where you round it out, it's like 230 00:12:15,720 --> 00:12:18,360 Speaker 1: you didn't see that coming. Um, I think those things 231 00:12:18,360 --> 00:12:21,560 Speaker 1: are interesting. Going to a Google and and where they 232 00:12:21,600 --> 00:12:24,000 Speaker 1: want to create in world content and they want to 233 00:12:24,000 --> 00:12:27,600 Speaker 1: do it without any branding. That's cool, right, And the 234 00:12:27,640 --> 00:12:31,040 Speaker 1: fans are trying to decipher my god, is this what 235 00:12:31,200 --> 00:12:33,160 Speaker 1: is going on here? And who is putting this out 236 00:12:33,200 --> 00:12:36,720 Speaker 1: and how is this happening? Um? That creates a cultural 237 00:12:36,880 --> 00:12:41,560 Speaker 1: conversation and undertow that just slapping my logo on something 238 00:12:41,640 --> 00:12:45,640 Speaker 1: doesn't doesn't do any good. Um, package good partner that 239 00:12:45,760 --> 00:12:49,600 Speaker 1: has been in this space doing something unexpected. Right, So 240 00:12:49,640 --> 00:12:51,520 Speaker 1: they may be in this space, they may be usual suspect. 241 00:12:51,520 --> 00:12:54,319 Speaker 1: How do I push them into doing something different? Um? 242 00:12:54,360 --> 00:12:56,240 Speaker 1: This was they wanted to do. They wanted to be 243 00:12:56,320 --> 00:12:59,000 Speaker 1: more immersive, and they said, we want to we want 244 00:12:59,040 --> 00:13:01,319 Speaker 1: people to be able to step into a character's world. 245 00:13:01,320 --> 00:13:05,359 Speaker 1: So they created VR mask for Black Panther Captain America. 246 00:13:05,679 --> 00:13:08,880 Speaker 1: Their sales went up fift Black Panther was off the 247 00:13:08,920 --> 00:13:11,520 Speaker 1: shelves of walmartin less than a week. It was huge 248 00:13:11,559 --> 00:13:15,600 Speaker 1: because fans wanted a way to immerse themselves. More so, 249 00:13:15,760 --> 00:13:18,679 Speaker 1: for me, it's how do I get that immersion? How 250 00:13:18,679 --> 00:13:21,160 Speaker 1: do I get that How do I electrify the fan base? 251 00:13:21,400 --> 00:13:24,040 Speaker 1: And sometimes that means not dealing, um with some of 252 00:13:24,040 --> 00:13:28,280 Speaker 1: the usual suspects. How do you electrify within Marvel all 253 00:13:28,280 --> 00:13:30,720 Speaker 1: the way up to it, Kevin Fight, I'm curious, like 254 00:13:30,960 --> 00:13:33,960 Speaker 1: do they all think about partnerships or they're like, well, 255 00:13:34,080 --> 00:13:38,199 Speaker 1: that's Mendy's things, She'll come to us. It is a 256 00:13:38,240 --> 00:13:41,480 Speaker 1: collaborative effort. Um. You know, it will start with my 257 00:13:41,559 --> 00:13:45,240 Speaker 1: team because that's what I'm tasked with doing at the company, 258 00:13:45,320 --> 00:13:48,120 Speaker 1: and I will come to them with here's the way 259 00:13:48,160 --> 00:13:51,560 Speaker 1: I'm thinking about this movie. And it's critical for me 260 00:13:51,640 --> 00:13:54,679 Speaker 1: to be a partner with Kevin and Lewis Um and 261 00:13:55,080 --> 00:13:58,920 Speaker 1: whoever the executive producers, because I have to understand what 262 00:13:59,160 --> 00:14:02,080 Speaker 1: is their vision, what is happening with this character, what's 263 00:14:02,080 --> 00:14:04,400 Speaker 1: happening in the storyline, how are they feeling about it, 264 00:14:04,440 --> 00:14:07,520 Speaker 1: how's it going to come to life on screen? Um? 265 00:14:07,559 --> 00:14:09,760 Speaker 1: Are there things that they need support from from a 266 00:14:09,800 --> 00:14:12,719 Speaker 1: product placement or is there a story that they want 267 00:14:12,760 --> 00:14:14,720 Speaker 1: to tell, you know, and that I can do that 268 00:14:14,800 --> 00:14:20,080 Speaker 1: with brand so um collaborative from from that perspective, and 269 00:14:20,560 --> 00:14:24,720 Speaker 1: once I've had that genius brain dump from them um 270 00:14:25,040 --> 00:14:27,560 Speaker 1: and and know where they are intending to take it, 271 00:14:27,640 --> 00:14:29,800 Speaker 1: then I sit down and start to construct what that 272 00:14:29,840 --> 00:14:32,240 Speaker 1: looks like. Who can we go after? And it could 273 00:14:32,280 --> 00:14:34,600 Speaker 1: be specific brands, it could be categories, and it could 274 00:14:34,600 --> 00:14:37,400 Speaker 1: be target audiences um. And then I let it breathe, right, 275 00:14:37,440 --> 00:14:39,080 Speaker 1: I work with my team, We let it breathe, and 276 00:14:39,280 --> 00:14:41,920 Speaker 1: we come in and there's always the conversation like, who 277 00:14:41,920 --> 00:14:45,040 Speaker 1: haven't we thought of swing to the fences, what's the unexpected, 278 00:14:45,280 --> 00:14:47,200 Speaker 1: what's the oh my god, I didn't see that coming. 279 00:14:47,280 --> 00:14:49,080 Speaker 1: And then I go back to Kevin and Lewis and 280 00:14:49,400 --> 00:14:52,080 Speaker 1: Assad and Ricky and and talk to them collectively and 281 00:14:52,080 --> 00:14:54,360 Speaker 1: say here's what I'm thinking. They're like, go for it. Um. 282 00:14:54,400 --> 00:14:56,480 Speaker 1: And then from there, you know, once we have the 283 00:14:56,480 --> 00:14:59,840 Speaker 1: partners on board, some real work begins. And that's the 284 00:15:00,000 --> 00:15:03,880 Speaker 1: creative that that is the part that takes off. You know, UM. 285 00:15:04,040 --> 00:15:05,960 Speaker 1: When when you know we did the deal with Alexis, 286 00:15:06,080 --> 00:15:08,240 Speaker 1: when we did the deal with Torito's for guardians. They 287 00:15:08,240 --> 00:15:09,440 Speaker 1: didn't come to me and say, hey, I want to 288 00:15:09,440 --> 00:15:10,920 Speaker 1: do a partnership with you and I'm gonna put a 289 00:15:10,920 --> 00:15:13,880 Speaker 1: soundtrack on the music back. That stuff evolves, that stuff 290 00:15:13,920 --> 00:15:16,160 Speaker 1: comes out. That's when the magic happens. Is once you 291 00:15:16,200 --> 00:15:20,120 Speaker 1: get on board and out of way, filmmakers start to 292 00:15:20,120 --> 00:15:22,280 Speaker 1: weigh in. They can you know, hey, if we thought 293 00:15:22,280 --> 00:15:24,880 Speaker 1: about this, Um, it's real magic. It's it's a nice 294 00:15:24,880 --> 00:15:29,520 Speaker 1: collaborative effort. Is there a way that being inside the 295 00:15:29,600 --> 00:15:33,760 Speaker 1: Disney machinery helps what you do? You're able to perhaps 296 00:15:33,920 --> 00:15:36,880 Speaker 1: take the brand to more places because Disney has all 297 00:15:36,920 --> 00:15:40,520 Speaker 1: these touch points. Absolutely. Um. I think that's one of 298 00:15:40,520 --> 00:15:44,160 Speaker 1: the things that we, you know, we've tried to accomplish. 299 00:15:44,200 --> 00:15:46,760 Speaker 1: I think we've done it well. Is one stop shopping. 300 00:15:47,000 --> 00:15:51,080 Speaker 1: So I'm your brand ambassador as you navigate on all 301 00:15:51,120 --> 00:15:54,520 Speaker 1: the Marvel touch points and and having um, you know, 302 00:15:54,560 --> 00:15:57,960 Speaker 1: the Walt Disney Company, um, you know in support of 303 00:15:58,000 --> 00:16:00,920 Speaker 1: Marvel and all the amazing things they're doing ing um 304 00:16:01,120 --> 00:16:04,800 Speaker 1: just makes it that much more um, you know, attractive 305 00:16:04,840 --> 00:16:07,280 Speaker 1: for brands because brands don't want to always just come 306 00:16:07,280 --> 00:16:09,440 Speaker 1: in in one moment. They're like, how can I have 307 00:16:09,480 --> 00:16:12,080 Speaker 1: a longer term relationship, how can I operate in between 308 00:16:12,080 --> 00:16:15,920 Speaker 1: those tentpole moments? And you know, having the support of 309 00:16:15,920 --> 00:16:22,240 Speaker 1: the Walt Disney Company, i e. Parks, Live Entertainment, television networks, 310 00:16:22,280 --> 00:16:25,560 Speaker 1: all of those things are able to were able to 311 00:16:25,600 --> 00:16:28,000 Speaker 1: amplify how a partner is able to come in the 312 00:16:28,040 --> 00:16:29,960 Speaker 1: door and and in the back end. That helps not 313 00:16:30,080 --> 00:16:32,840 Speaker 1: just the tentpole release, but it also helps the franchise overall. 314 00:16:32,920 --> 00:16:35,840 Speaker 1: So it's it's an amazing thing to have. I know, 315 00:16:36,000 --> 00:16:39,080 Speaker 1: film is really the lions share of what you're doing, 316 00:16:39,080 --> 00:16:42,840 Speaker 1: But there's other kinds of Marvel. There's TV, there's digital. 317 00:16:43,080 --> 00:16:46,240 Speaker 1: Talk a bit about how that works in terms of 318 00:16:46,240 --> 00:16:49,600 Speaker 1: partnerships because I tend to think more of just movies, 319 00:16:49,640 --> 00:16:52,520 Speaker 1: but it really isn't that simple. So when it comes 320 00:16:52,520 --> 00:16:55,600 Speaker 1: to two television shows, it depends on obviously where the 321 00:16:55,600 --> 00:16:59,200 Speaker 1: show is on network. Um, if it's if it's you know, 322 00:16:59,280 --> 00:17:02,680 Speaker 1: Agency SID, you know, I'll work very closely. Or if 323 00:17:02,720 --> 00:17:05,679 Speaker 1: it's Cloaken Dagger, I'll work very closely with my friends 324 00:17:05,720 --> 00:17:09,400 Speaker 1: over at the ABC, UM and free Form networks occasionally 325 00:17:09,480 --> 00:17:11,640 Speaker 1: you know, listen, they do what they do best. Um. 326 00:17:11,680 --> 00:17:14,879 Speaker 1: But knowing that from a Marvel perspective, we may have 327 00:17:14,920 --> 00:17:17,160 Speaker 1: a different lens, or we may have a different relationship. 328 00:17:17,480 --> 00:17:20,080 Speaker 1: You know, we have those big relationships with partnerships on 329 00:17:20,119 --> 00:17:22,520 Speaker 1: the film tip poles. They may come to me and say, hey, 330 00:17:22,560 --> 00:17:25,680 Speaker 1: how can we how can we work collectively together? UM. 331 00:17:25,840 --> 00:17:28,119 Speaker 1: Usually it's for Verse Engineered actually on the on the 332 00:17:28,160 --> 00:17:31,400 Speaker 1: film side, we'll we'll try to add that UM level 333 00:17:31,480 --> 00:17:34,239 Speaker 1: of synergy where we'll work across the aisles with all 334 00:17:34,280 --> 00:17:37,280 Speaker 1: those different teams. UM. But I would say if it's ABC, 335 00:17:37,480 --> 00:17:41,280 Speaker 1: that's how it works. Netflix. My friends at Netflix, I've 336 00:17:41,280 --> 00:17:44,480 Speaker 1: been working with them for two and a half years now, 337 00:17:45,040 --> 00:17:48,280 Speaker 1: UM to get them to to believe in the power 338 00:17:48,480 --> 00:17:51,760 Speaker 1: of partnerships. You know, they have come from UM. What 339 00:17:51,760 --> 00:17:54,200 Speaker 1: they've been doing has been amazing UM. And now I'm 340 00:17:54,200 --> 00:17:58,400 Speaker 1: happy to report that they're opening up UM their their 341 00:17:58,680 --> 00:18:03,320 Speaker 1: you know breath and their vision on partnership. So I'm 342 00:18:03,320 --> 00:18:06,520 Speaker 1: actually really excited to see where this will go. UM 343 00:18:06,800 --> 00:18:11,200 Speaker 1: remains TBD, but that's interesting. And those shows are a 344 00:18:11,200 --> 00:18:15,320 Speaker 1: different side of Marvel, right. It's very monomamano, very UM 345 00:18:15,560 --> 00:18:19,680 Speaker 1: vigilante Street based, a lot of grit, very adult UM. 346 00:18:19,720 --> 00:18:21,679 Speaker 1: So it's an interesting area to explore and there are 347 00:18:21,680 --> 00:18:24,480 Speaker 1: a lot of brands out there who need that, who 348 00:18:24,800 --> 00:18:27,879 Speaker 1: need that type of content UM to be able to 349 00:18:27,920 --> 00:18:29,879 Speaker 1: get whether it's a millennial or the gen z s 350 00:18:30,040 --> 00:18:33,240 Speaker 1: or what have you. So so Netflix change your heart 351 00:18:33,560 --> 00:18:38,080 Speaker 1: with partnerships is interesting because it prompts me to ask, 352 00:18:38,560 --> 00:18:41,959 Speaker 1: as you look at the growth of partnerships in the 353 00:18:42,080 --> 00:18:48,320 Speaker 1: entertainment industry, beyond Marvel, beyond film, are we seeing more 354 00:18:48,440 --> 00:18:54,280 Speaker 1: acceptance from whether it's streaming services brands. Do partnerships become 355 00:18:54,600 --> 00:18:57,720 Speaker 1: a more important part of just about any marketing mix 356 00:18:57,800 --> 00:19:02,399 Speaker 1: out there? I think they have to be because they again, 357 00:19:02,440 --> 00:19:06,360 Speaker 1: you're reaching places that you can't go by, and you 358 00:19:06,400 --> 00:19:12,240 Speaker 1: are amplifying media right all the support levers that a 359 00:19:12,280 --> 00:19:15,479 Speaker 1: brand can bring UM, So it gets your get your 360 00:19:15,520 --> 00:19:18,960 Speaker 1: message out there in deeper ways and then the interaction 361 00:19:19,320 --> 00:19:22,879 Speaker 1: and the adventization that happens with fans. So yeah, I 362 00:19:22,880 --> 00:19:26,000 Speaker 1: think I think people are seeing that. I believe that 363 00:19:26,440 --> 00:19:28,479 Speaker 1: Netflix is starting to see the power of it. But 364 00:19:29,400 --> 00:19:32,160 Speaker 1: compliments to them, and it's similar to our strategy has 365 00:19:32,200 --> 00:19:33,840 Speaker 1: to be right again, it has to go back to 366 00:19:34,040 --> 00:19:36,200 Speaker 1: it is it fit for the story or the character? 367 00:19:36,280 --> 00:19:40,760 Speaker 1: Is it authentic? Um, it's being judicious about it. Surely 368 00:19:41,040 --> 00:19:44,679 Speaker 1: you've had some moments in your otherwife Stellar career where 369 00:19:44,880 --> 00:19:48,800 Speaker 1: despite the best analysis in the world, this brand, this movie, 370 00:19:48,920 --> 00:19:51,480 Speaker 1: they're gonna be together, like where it just doesn't work. 371 00:19:51,920 --> 00:19:53,840 Speaker 1: I mean, have you had those? How do you deal? 372 00:19:54,600 --> 00:19:58,240 Speaker 1: How do you deal? Um? I'd love to say you duck, 373 00:19:58,280 --> 00:20:03,000 Speaker 1: tuck and roll, but that doesn't work. Um. I'm trying 374 00:20:03,040 --> 00:20:05,639 Speaker 1: to think of you know, listen, I think there's some 375 00:20:05,720 --> 00:20:10,359 Speaker 1: things where Um, I would use an example when I 376 00:20:10,400 --> 00:20:15,360 Speaker 1: was working on teenage Muntant Ninja Turtles, everybody expects what pizza, right, 377 00:20:15,640 --> 00:20:17,880 Speaker 1: so I had to go get a pizza partner. Uh. 378 00:20:17,880 --> 00:20:19,399 Speaker 1: And I think there were a lot of things that 379 00:20:19,600 --> 00:20:23,600 Speaker 1: did work, and then there were a lot of missus right. Um, 380 00:20:23,640 --> 00:20:25,600 Speaker 1: And I think some of it was the things that 381 00:20:25,680 --> 00:20:28,520 Speaker 1: worked were when we stuck to what was authentic to 382 00:20:28,600 --> 00:20:33,000 Speaker 1: the Turtles. One of the biggest pieces of success within 383 00:20:33,200 --> 00:20:37,280 Speaker 1: that that particular promotion was actually they recreated an actual 384 00:20:37,320 --> 00:20:40,440 Speaker 1: tank that throw pizza and it was amazing and you 385 00:20:40,520 --> 00:20:43,960 Speaker 1: got to launch pizzas you know, at your at your villains. 386 00:20:44,000 --> 00:20:47,119 Speaker 1: That took off like lightning. It was just you know, 387 00:20:47,280 --> 00:20:50,560 Speaker 1: ground swell. Um. You know, I would say the TV 388 00:20:50,680 --> 00:20:53,040 Speaker 1: spot was a bit of a miss right and so 389 00:20:53,480 --> 00:20:55,600 Speaker 1: I think, you know, there is always a delicate balance, 390 00:20:55,680 --> 00:20:58,600 Speaker 1: you know, So that might be one that I would say, 391 00:20:58,640 --> 00:21:01,719 Speaker 1: But so far at Marvel, Come Wood, We've we've done. Okay, 392 00:21:02,359 --> 00:21:05,320 Speaker 1: that's great. Do you do you get a sense though 393 00:21:05,440 --> 00:21:09,119 Speaker 1: that in this day and age, particularly with regard to 394 00:21:09,160 --> 00:21:13,280 Speaker 1: Marvel's Bread and Butter, these movies, do you get the 395 00:21:13,320 --> 00:21:16,080 Speaker 1: sense that each of them has to come with, say, 396 00:21:16,320 --> 00:21:21,879 Speaker 1: multiple partnerships from different categories, And is there any issues 397 00:21:21,920 --> 00:21:25,920 Speaker 1: there in terms of getting brands to coexist within say 398 00:21:25,960 --> 00:21:29,960 Speaker 1: one property. I would say, yeah, brands actually are getting 399 00:21:30,040 --> 00:21:32,880 Speaker 1: very savvy about this space and what they don't want 400 00:21:32,880 --> 00:21:36,080 Speaker 1: to do. And again, what we avoid at Marvel is 401 00:21:36,119 --> 00:21:38,679 Speaker 1: what we call the logo parade. It's a logo slab. 402 00:21:39,440 --> 00:21:44,200 Speaker 1: Brands are not interested and I'm not interested in delivering 403 00:21:44,840 --> 00:21:49,760 Speaker 1: a set bank of assets and saying here's your toolbox, 404 00:21:50,280 --> 00:21:53,399 Speaker 1: don't stray from it, you know, use this and and 405 00:21:53,480 --> 00:21:56,480 Speaker 1: a lot of unfortunately, a lot of studios are very 406 00:21:56,480 --> 00:21:59,199 Speaker 1: prescriptive about that. And part of that comes from I 407 00:21:59,200 --> 00:22:02,159 Speaker 1: want to see the sact same message, the exact same artwork, 408 00:22:02,200 --> 00:22:05,639 Speaker 1: no matter who it is the art of partnerships is 409 00:22:05,680 --> 00:22:08,520 Speaker 1: actually quite different. You've got to figure out Where is 410 00:22:08,600 --> 00:22:12,280 Speaker 1: that nuance? Where can I play that maybe is you know, 411 00:22:12,480 --> 00:22:14,240 Speaker 1: a hair to the left or a hair to the right, 412 00:22:14,880 --> 00:22:18,080 Speaker 1: or that is a reimagining UM so that it's not 413 00:22:18,119 --> 00:22:20,959 Speaker 1: only appropriate for the brand, but appropriate for the fans. 414 00:22:21,000 --> 00:22:23,000 Speaker 1: I mean that that's just one more thing that the 415 00:22:23,000 --> 00:22:27,359 Speaker 1: fans like. That's cool. You know. I go back to UM. 416 00:22:27,400 --> 00:22:29,359 Speaker 1: You know the coke cans that we did. It was 417 00:22:29,400 --> 00:22:32,280 Speaker 1: not the traditional artwork that was you know that you 418 00:22:32,280 --> 00:22:34,920 Speaker 1: would expect to see from a film. They were graphic, 419 00:22:35,080 --> 00:22:38,200 Speaker 1: they were high, they was just extremely graphic looking. Fans 420 00:22:38,200 --> 00:22:41,120 Speaker 1: went crazy for it. UM And So I think it's 421 00:22:41,240 --> 00:22:44,000 Speaker 1: those kinds of things, right, you know, Flexus wanted to 422 00:22:44,000 --> 00:22:47,359 Speaker 1: do UM, you know, wanted to imagine a car. You 423 00:22:47,400 --> 00:22:49,600 Speaker 1: know a lot of other places might say, oh, put 424 00:22:49,640 --> 00:22:51,840 Speaker 1: the logos and put put you know, there are are 425 00:22:51,840 --> 00:22:54,439 Speaker 1: our film artwork on top of the car. They're like no, no, no. 426 00:22:54,480 --> 00:22:57,399 Speaker 1: If they had a vibranium tank in the background, three 427 00:22:57,480 --> 00:23:00,639 Speaker 1: D paint imaging coming off the hood. So it's you know, 428 00:23:00,880 --> 00:23:04,280 Speaker 1: again Darda's wanting to play the soundtrack on on that's 429 00:23:04,320 --> 00:23:08,560 Speaker 1: not traditional. So it's being flexible UM And and that's 430 00:23:08,600 --> 00:23:11,280 Speaker 1: where you're going to get fans to get excited because 431 00:23:11,280 --> 00:23:13,480 Speaker 1: they're going to see something different, but it's going to 432 00:23:13,600 --> 00:23:16,720 Speaker 1: feel connected and and to go back to part of 433 00:23:16,760 --> 00:23:20,120 Speaker 1: your question, UM just a minute ago, you know, avoiding 434 00:23:20,119 --> 00:23:24,639 Speaker 1: that logo prede also avoiding you know, the twelve of 435 00:23:24,720 --> 00:23:27,320 Speaker 1: the fifteen partners. I think a lot of people make 436 00:23:27,320 --> 00:23:32,520 Speaker 1: the mistake that UM quantity over quality and and and partnerships. 437 00:23:32,640 --> 00:23:35,520 Speaker 1: That can be a real mistake. It's a mistake because 438 00:23:36,119 --> 00:23:38,639 Speaker 1: it's not done well usually and they are usually just 439 00:23:38,720 --> 00:23:41,560 Speaker 1: using the bank of assets UM, and I think there's 440 00:23:41,600 --> 00:23:44,480 Speaker 1: not as much flexibility to be able to create that 441 00:23:44,560 --> 00:23:47,399 Speaker 1: magic within those campaigns. And quite frankly, brands hate it. 442 00:23:47,880 --> 00:23:49,480 Speaker 1: You know, that's one of the things that they're getting 443 00:23:49,520 --> 00:23:51,520 Speaker 1: smarter about their coming in And it's the same with 444 00:23:51,560 --> 00:23:53,280 Speaker 1: the ventures. It was one of the first questions I 445 00:23:53,320 --> 00:23:56,080 Speaker 1: got asked when I was talking to people that are like, Okay, well, 446 00:23:56,080 --> 00:23:59,280 Speaker 1: this is the biggest movie of the century. Let's be clear. 447 00:24:00,440 --> 00:24:02,080 Speaker 1: You know, we know that this is your big one. 448 00:24:02,280 --> 00:24:05,520 Speaker 1: You ten years we've been leading up to this moment. 449 00:24:05,720 --> 00:24:08,360 Speaker 1: You know, the next two films back to back. I'm 450 00:24:08,359 --> 00:24:12,520 Speaker 1: sure you have what partners you know? And the answers no, UM, 451 00:24:12,560 --> 00:24:14,680 Speaker 1: we want the right partners. We want to be able 452 00:24:14,720 --> 00:24:17,680 Speaker 1: to tell the right story. So each partner has a 453 00:24:17,720 --> 00:24:21,320 Speaker 1: different position, whether it's an audience driver, a story driver, 454 00:24:21,480 --> 00:24:25,040 Speaker 1: a character driver, UM, or something that's just really super 455 00:24:25,040 --> 00:24:28,359 Speaker 1: fun and pop culture. And with regard to partnerships for 456 00:24:28,480 --> 00:24:31,960 Speaker 1: big franchises like The Avengers, you at the place now 457 00:24:32,080 --> 00:24:34,840 Speaker 1: where a Marvel has to think of this more than 458 00:24:34,880 --> 00:24:36,959 Speaker 1: one movie at a time, that you're signing up a 459 00:24:36,960 --> 00:24:39,560 Speaker 1: brand for a three picture deal, just like a talent, 460 00:24:39,840 --> 00:24:42,680 Speaker 1: you can be yes, I mean I would go back 461 00:24:42,720 --> 00:24:46,120 Speaker 1: to Audi as an example. Audi obviously, UM has been 462 00:24:46,200 --> 00:24:48,679 Speaker 1: in the Marvel family for for some time. You know, 463 00:24:48,840 --> 00:24:51,560 Speaker 1: Magic was created with the Tony Stark iron Man character 464 00:24:52,040 --> 00:24:54,480 Speaker 1: back in you know, two thousand and whatever it was 465 00:24:54,520 --> 00:24:58,160 Speaker 1: and not getting my ear right, UM, But so for them, 466 00:24:58,200 --> 00:25:01,359 Speaker 1: they've been been been with the family. But I do 467 00:25:01,480 --> 00:25:06,760 Speaker 1: think it's important, um again to keep a periscope up 468 00:25:07,400 --> 00:25:10,040 Speaker 1: and really you know, figure out what is happening out 469 00:25:10,080 --> 00:25:13,240 Speaker 1: in the landscape. UM, what are people, what are audiences 470 00:25:13,280 --> 00:25:18,840 Speaker 1: gravitating towards? And that includes you know, brands, platforms, ways 471 00:25:18,880 --> 00:25:21,359 Speaker 1: that we're you know, doing things, whether it's experiential or 472 00:25:21,359 --> 00:25:25,040 Speaker 1: PR or or or digital or mobile effort. And so 473 00:25:25,080 --> 00:25:26,720 Speaker 1: I think you have to have a periscope up and 474 00:25:26,760 --> 00:25:28,120 Speaker 1: you have to be able to make sure that you're 475 00:25:28,160 --> 00:25:32,640 Speaker 1: looking as we're introducing new characters and new worlds like Guardians, right, 476 00:25:33,040 --> 00:25:36,840 Speaker 1: or Black Panther or Doctor Strange. Um, those are outside 477 00:25:36,840 --> 00:25:39,680 Speaker 1: of the core six avengers. UM. I think you want 478 00:25:39,680 --> 00:25:43,520 Speaker 1: to look at what brands are right. So yes, occasionally 479 00:25:43,600 --> 00:25:45,159 Speaker 1: we'll have brands that will want to sign up for 480 00:25:45,240 --> 00:25:47,960 Speaker 1: multiple picture because they want to tap into the franchise 481 00:25:48,040 --> 00:25:50,280 Speaker 1: and they want to build it. And it's hard. Right 482 00:25:50,280 --> 00:25:55,240 Speaker 1: when brands turn on that engine and and commit to 483 00:25:55,440 --> 00:25:57,600 Speaker 1: that level of support, whether it's in the form of 484 00:25:57,640 --> 00:26:01,600 Speaker 1: television and digital media and um, whatever is happening from 485 00:26:01,600 --> 00:26:05,000 Speaker 1: a retail or a location brick and mortar perspective, that's 486 00:26:05,040 --> 00:26:08,080 Speaker 1: a lot for their organization to take on. And so 487 00:26:08,200 --> 00:26:10,080 Speaker 1: they want they want to amplify it, they want to 488 00:26:10,119 --> 00:26:12,119 Speaker 1: they want to extend their legs. So, yes, it is 489 00:26:12,160 --> 00:26:14,639 Speaker 1: happening more and more. Um. But I would say we 490 00:26:14,720 --> 00:26:16,959 Speaker 1: always want to be careful. It's it's not about just 491 00:26:17,000 --> 00:26:19,000 Speaker 1: oh great, I've got somebody signed up for the next 492 00:26:19,000 --> 00:26:21,920 Speaker 1: three years or three pictures checkbox. It is is that 493 00:26:22,040 --> 00:26:26,480 Speaker 1: the right brand to do it one last question in 494 00:26:26,520 --> 00:26:30,600 Speaker 1: the year eighteen or there's still brands out there that 495 00:26:30,880 --> 00:26:33,520 Speaker 1: don't quite get it when it comes to partnerships that 496 00:26:33,720 --> 00:26:36,240 Speaker 1: still want to stick to the tried and true billboards 497 00:26:36,240 --> 00:26:38,480 Speaker 1: and thirty second spots where you have to be in 498 00:26:38,520 --> 00:26:43,680 Speaker 1: the position to evangelize the value of these things. I think, UM, 499 00:26:43,720 --> 00:26:46,480 Speaker 1: I don't know that it's it's whether brands don't get it. 500 00:26:46,480 --> 00:26:49,119 Speaker 1: And I would never call anybody else specifically. What I 501 00:26:49,119 --> 00:26:52,679 Speaker 1: would say is what's gotten difficult in this day and 502 00:26:52,720 --> 00:26:58,679 Speaker 1: age when you have a saturated market with Facebook and Snapchat, 503 00:26:58,680 --> 00:27:00,840 Speaker 1: on Instagram and all these other things in YouTube, and 504 00:27:00,880 --> 00:27:05,040 Speaker 1: now you have influencers. Brands are looking at ways UM 505 00:27:05,080 --> 00:27:08,160 Speaker 1: to make sure that they're relevant on a daily basis, 506 00:27:08,359 --> 00:27:11,840 Speaker 1: right and UM two as I mentioned, to turn on 507 00:27:12,480 --> 00:27:16,720 Speaker 1: the engine of all of their individual disciplines to point 508 00:27:16,760 --> 00:27:19,040 Speaker 1: to something, whether it's for a product launch or just 509 00:27:19,119 --> 00:27:22,840 Speaker 1: a co branded message. UM. That's a lot for an 510 00:27:22,840 --> 00:27:26,920 Speaker 1: internal organization. So it's become harder, I think to convince 511 00:27:26,960 --> 00:27:30,119 Speaker 1: an organization. UM. And when it happens, it's magic and 512 00:27:30,119 --> 00:27:32,320 Speaker 1: they turn it. They turn all that firepower on. But 513 00:27:33,160 --> 00:27:38,560 Speaker 1: I would say brands are looking at other platforms. The 514 00:27:39,000 --> 00:27:43,120 Speaker 1: marketplace has become saturated as far as the type of partnership. So, um, 515 00:27:43,160 --> 00:27:45,800 Speaker 1: if you can't offer, which luckily we can, where I 516 00:27:45,800 --> 00:27:47,600 Speaker 1: can say, I can work with you in a film window, 517 00:27:47,640 --> 00:27:49,760 Speaker 1: I can work with you in between. I can work 518 00:27:49,800 --> 00:27:51,399 Speaker 1: with you in home entertainment. I can work with you 519 00:27:51,440 --> 00:27:54,440 Speaker 1: on a film, on a television show, a video game, 520 00:27:54,920 --> 00:27:58,360 Speaker 1: or I can create digital content, co branded content, a series, 521 00:27:58,440 --> 00:28:00,439 Speaker 1: snack able, whatever it may be. I can reach a 522 00:28:00,480 --> 00:28:02,480 Speaker 1: hundred and thirty one million of our fans that aren't 523 00:28:02,520 --> 00:28:05,960 Speaker 1: live across those social platforms. That is the point of difference. 524 00:28:06,119 --> 00:28:10,320 Speaker 1: Unfortunately not all of my fearless competitors can say that, 525 00:28:10,359 --> 00:28:12,640 Speaker 1: but I think it's it's being able to offer those 526 00:28:12,680 --> 00:28:15,840 Speaker 1: particular things keeps brands in the game. That's a good 527 00:28:15,840 --> 00:28:17,760 Speaker 1: note to end on. Thank you many of your time. 528 00:28:19,840 --> 00:28:24,760 Speaker 1: Well that's another installment of Strictly Business next week. Catch 529 00:28:24,840 --> 00:28:28,560 Speaker 1: me as I talk with Instagram's Charles Porch. You don't 530 00:28:28,600 --> 00:28:29,159 Speaker 1: want to miss it.