1. Presented By- Dr. Arun Kumar

2. What is Marketing? Marketing is an Organizational function and a set ofprocesses for creating, communicating anddelivering value to customers and for managingcustomer relationships in ways that benefit theOrganization and its Stakeholders 3. What is Film Marketing?Film Marketing in Line with the Marketing Management processes in other industries, begins at the new product development stage and Continuous throughout the information of the project ideas, through production and into distribution and exhibition. 4. What is SCM ?(Supply Chain Management) All value adding activities from the extraction of rawmaterial through the transformation processes anddelivery to the end user. 5. Film Industry Supply ChainPre Post Exhibition Rights Production Above the line,Production Salesacquisition, Cast and Crew Below the Line Editing Distribution Theatrical(Cinemas) Scriptselection Soundtrack Trailers DVD/VCR/Bluedevelopment Ray Greenlighting Publicity Financing TV (free and payFinancing per view free TV) DistributionProductionDevelopment & Advertising 6. NPD (New ProductDevelopment) and FilmMarketing New Product Development is defined as theprocess of conceiving and creating a new productand outcomes of the process. This is essentially what filmmaking is concernedwith and and film marketing has the dual functionof informing and being informed by this process. 7. NPD cntd In common with other industries, successfulinnovation and the survival of companies in the filmindustry.Although in many industries, the term new productdevelopment (NPD) is commonly used, this is notthe case in the film industry. Despite the lack of common terminology betweenfilm and other industries, the generic NPD processesare in existence in the film industry. 8. Role of Market Research inFilm Marketing Process The role of Marketing Research is Developing andPositioning new products, entering new markets andunderstanding the competition is recognized. 9. Researches Undertaken for theFilm Marketing7 types of research undertaken during the filmmarketing process Concept testing Positioning Studies, Focus Group tests, Test Screenings, Tracking Surveys, Advertising testing and Exit Surveys. 10. Concept testing Title testing can also be included in this phase oftesting, however, as can be seen from the tradepress, a number of projects do not formalise theirtitles at such an early stage, preferring to useworking titles for films until they have finalised thetitle later in the production. 11. Positioning Study This test analyse the various elements, ormarketing assets of the film. Based on data collated by the distribution team cananalyse the potential financial performance of thefilm based on its genre, cast. This is also a basic form and is seen as key elementof the development process. 12. Focus Group Testing A focus group is a form of qualitative research inwhich a group of people are asked about theirperceptions, opinions, beliefs, and attitudes towardsa product, service, concept, advertisement, idea, orpackaging. Questions are asked in an interactive group settingwhere participants are free to talk with other groupmembers. 13. Test Screening A test screening is a preview screening ofa movie or television show before its general releasein order to gauge audience reaction. Preview audiences are selected from a cross-sectionof the population, and are usually asked to completea questionnaire or provide feedback in someform. Harold Lloyd is credited with inventing theconcept, having used it as early as 1928. Test screenings have been recommended even forstarting filmmakers "even if a film festival is fastapproaching" 14. Advertising TestingAdvertising research is a specialized form ofmarketing research conducted to improve theefficiency of advertising. Pre-testingPre-testing, also known as copy testing, is aspecialized field of marketing research thatdetermines an ads effectiveness based on consumerresponses, feedback, and behaviour. 15. ADD Testing Cntd Campaign pre-testingA new area of pre-testing driven by the realizationthat what works on TV does not necessarilytranslate in other media. Greater budgets allocatedto digital media in particular have driven the needfor campaign pre-testing. The addition of a mediaplanning tool to this testing approach allowsadvertisers to test the whole campaign, creative andmedia, and measures the synergies expected with anintegrated campaign. 16. Add cntd Post-testing Post-testing/Tracking studies provide eitherperiodic or continuous in-market researchmonitoring a brands performance, including brandawareness, brand preference, product usage andattitudes. Some post-testing approaches simplytrack changes over time, while others use variousmethods to quantify the specific changes producedby advertisingeither the campaign as a whole orby the different media utilized. 17. Exit Surveys Exit surveys provide a robust framework to betterunderstand the motivations and drivers thatcontribute to an individual exiting about the featuresof the add.The truth is that while an individual may be facedwith some strong factors that serve to push themtowards ignoring the Stimuli, they may also befaced with an equally strong pull towards anotherAdvertisement, concept, relativity, point of view. 18. The Film Marketing Mix The Film Marketing Mix consists of the variouselements to be considered in strategic MarketingPlanning, covering Product, Price, Place, Place,Promotion as well as various additional elements. The film marketing mix comprises of the creativeteam, actors, scrip/genre, age classification andrelease strategy. 19. Release Strategy In most film markets, films are releases throughwhat is known as the window system. In this system, films are first given a theatricalrelease(at cinemas) and after a contractually agreedperiod, they are made available on DVD/ Blu-Ray. Each window is protected from possiblecannibalisation by alternate release fomats. 20. Release Strategy Cntd Following with the other contractually agreedperiod, they are available to pay per view televisionchannels, then free to view. 21. Film Marketing MaterialsThe conventional film marketing material include : Posters, Trailers, Merchandise, Electronic press kits and stills. 22. Film TrailersWhile the film poster may be displayed in prominent places in order to be seen by target audience, the film trailer would only be seen by those going to see other films at the cinema, at the discretion of the projectionist. 23. Film FestivalsDefinitions of film festival an established venue usually organised around screenings and prizes, dedicated to introducing movies of a certain style to a paying audience. 24. Film MarketsDefined a- business venues closed to the public which may be associated with a festival or not. Although there is a distinction between events which are purely festivals and those which are primarily markets, these distinctions are blurring. 25. Key Figures in Film IndustryIn terms of Gaining access to the market, the keyfigures for film producers to engage with are KeyFigures Sales FilmFestival AgentDistributor Organisers 26. Key CntdThese Keys are the Gate keepers who will guide thefilm through the Choppy waters of the film market orwill prevent the film from having life beyondproduction. 27. Social and Societal Marketing and FilmSocietal Marketing is established within the marketingLiterature as concerned with the ethical of societalimplications of commercial activity, social marketingtheory refers to the application of marketing techniquesin communicating social issues. 28. Social Marketing Cntd Films does have a role to play in social marketing.Social arts marketing can be defined as the use ofarts in advancing social causes and influencingsocial change. Documentary filmmakers have entered this realmthrough their efforts to increase the audience forsuch films as well as for feature films whichhighlight social issues in an attempt to influencesocial change. 29. Social and Political impact ofArt(Film)As filmmaking grew more sophisticated, the social and political roles became evident and films are used to communist ideologies or to express artistic vision. For e.g. Sarkar, Aarakshan, Rajniti, Nayak and the list is not ended yet 30. Film as Educator Films can be used as an educative medium in thecountry. Today, feature films are primarily viewed as formsof mass entertainment and the social element is oftenoverlooked. Art represents an reflects reality and rt forms such asliterature and filmmaking take place in a socio-political context or environment. In this way, filmmakers either reinforce social normsor challenge them. 31. New Routes to Market There appear to be two groups of filmmakers who areutilizing the internet as an alternative method ofdistribution. :I. Those labeled net natives who have not operated within the conventional structures of the film industry who are finding ways of creating revenue streams through internet distribution or are developing and distributing films this way as a calling cards which they can use to develop their reputation within the film industry. II. Some established filmmakers have turned to onlinedistribution in order to quickly gain exposure for theirfilm. 32. The Film Marketing Plan Title A little about Genre Rating the movie... Movies Main ThemeTarget Market? People who caqn relate the movie In theatres with other related movies and/or genresAdvertisement Internet, newspapers and by television. Word of mouthto the public... Demand hold a showing in only certain areas/theatres. 33. Plan CNTDPromotion exciting trailers, brightly coloured posters and eye- catching ads that will make people turn and stare.Clips Production House DetailsProduction Their history & mile stone Movies Details Mission, Vision, Goal Competitors Analysis Production costBudget Advertising Cost Internal Expenses 34. Marketing ActivitiesProduct: Pricing: Develop new products Establish price objectives Modify existing Conduct cost analysisproducts Analyze competitors Test-market products price Select brand name Set actual prices Package product 35. CntdPromotion: Distribution: Determine types of Select wholesalers andpromotionretailers Design the advertising Establish proceduresmassagefor handling and Selecting advertisingmoving productsmedia Find the best locations Schedule the for plants, warehousesadvertisements and retail outlets 36. Market SegmentationMarket segment division of heterogonous marketinto homogonous market based on differentcharacteristicsSegmentation Based: Geographic bases - city, region Demographic bases - sex, race, marital Psychographics - a persons attitude, lifestyle Product-related - brand loyalty 37. Pricing Strategies Pioneer pricing leadership pricing in the market Price skimming setting an initial high price to covernew product cost and generate a profit Penetration pricing setting an initial low price toestablish a new product in the market Psychological Pricing setting an initial high price torespond irrationally consumers Price Discounting Price reduction offered as anincentive to purchase 38. PROMOTIONPromotion - the communication of favorable,persuasive information about a firm or product inorder to influential buyersPromotional Objectives: Informing Increasing sales Stabilizing sales Positioning the product Building a public image 39. The Promotion MixPromotion Mix - the combination of advertising,personal selling, sales promotion, publicity usedto promote a specific product 40. Promotion Strategy for FilmMarketingStrategy #1: Interrupt Traditional advertising interrupts a viewers TVshow or movie as part of a value exchange: toreceive free programming, you accept messagesfrom the shows sponsors. Social media may be the darling of the trades andmarketing departments, but traditional advertisingstill does the heavy lifting for movie awareness. 41. Strategy #1: Interrupt CntdRe-distribute TV spending Studios spend 70% to 75% of their marketingbudget on TV. The buzzzz is split between network, cable and spotads. But after 50 years of a steady run, TVadvertising is finally coming under pressure as aresult of studios reducing their TV spend in 2010. 42. Strategy #1: Interrupt cntdCreate must-see movie trailers 66% of homes now have DVRs, which I assumedwould be directly hurting movie trailer viewing.Several panellists mentioned that trailers are TiVo-proof, meaning they are worth un-skipping,watching and then skipping forward to the show. Trailers are also highly popular online and in movietheatres, although the volume of in-theatrepromotion is teetering on over-saturation. 43. Strategy #1: Interrupt cntdDont underestimate the power a memorable logoA great movie logo becomes memorable muchfaster than standard brands. The Sholey, Pirates of carebian logo, became awide recognized icon in a few months, a task thattook Coca-Cola several generations to achieve. 44. Strategy #2: Discover Assuming the marketers have done their job, Iveheard of their movie. Now its time to decide if itsworth watching.Movie reviewsProfessional movie critics used to own this space,but now only a handful can collectively move theneedle on attendance. 45. Strategy #2: Discover cntd Video (on demand) kills the DVD store impulserenterNot long ago, the time consumers spent wanderingBlockbuster aisles averaged 23 minutes. Studios started to decorate DVD sleeves with filmfestival laurel wreathes to market to video store-browsing consumers, hoping theyd notice thetalented actors on the shelf. 46. Strategy #2: Discover cntd The best non-Internet PR channels The biggest PR coup your movie can have is to getthe star of your film to host Saturday Night Live.Placement on the cover of New York Times or othermajor magazines comes next. Awards and exposurefrom major film festivals is more important forsmaller release films than major releases. 47. Strategy #3: EngageWhat constitutes a radical reinvention of marketing? The only clear answer is engagement through social media, which has been around for less than 10 years. 48. Advertising Non-personal communication to a target audiencethrough a mass medium, such as TV, Radio,newspapers, or magazines, and outdoor display Types of Advertising: Primary-Demand Advertising: for all products Selective Brand Advertising: for specific products Institutional Advertising: create public image 49. Advertising Promotion Advertising Media variety of communication devices for carrying massage to potential customers Direct Mail delivery massage directly to mass places Internet Advertising put the massage into website or mailed directly to customer email 50. Publicity and Public Relation Publicity - a non-personal form of communicationtransmitted in news story form and not paid fordirectly sponsor Public Relations - a set of communicationactivities designed to create and maintain afavorable public image for firm 51. Major Public Relation ToolsWeb SiteCorporate IdentityMaterialsNews SpeechesPublicService Activities SpecialAudiovisualEvents MaterialsWritten Materials 52. Some challenges for distributors Traditional advertising failing Hard to reach all buyers Aggressive content competition Title awareness 53. Why are new movies released in thetheatres only on Friday? The release of films in India follows the Americanstyle. There a film is released on Friday so thatpeople can watch the film with their family duringthe work-free weekends (Saturday and Sunday)leading to good opening collection. 54. Myths of Friday Release Actually there is no hard and fast rule that movie isto be realesed on friday only the basic aim for this isthat generally the friday is the last working day ofthe week in 90% offices and the people have nexttwo days of leaves. So in order to give the movie a good start thedistributers make sure that the movie is released onfriday in order to get very good opening for themovie as people will come and watch the movie asthey have got two days to enjoy. 55. Myths cntd As stated above that it is not any hard and fast rulethere have been instances that movie has beenreleased on weekdays as well. because there waslong holiday following that week such as for diwaliand all. 56. Film Making Process Generation of IdeaArtiste Technician Selection Marketing Signing with distributor/Music LabelsActual Production of the FilmFilm CensorMarketingFilm ReleaseAll rights reserved 57. Mastermind approach blending several tools todeliver a consistent image to the audience Advertising Public relations Media Planning/Buying DM/Internet/TeleFilmmktgAUDIENCE Alliances/dealsCreative supportGround support Pre/Post launch activity 58. Benefits ofMastermind approach ? Total involvement and ownership approach Involve atconcept stage Professional,scientific and updated with current trends Focus on Marketing communication marketingperceptive May help improve Hits : Flops ratio Drive revenue through new media businesses Mobile,IT, Sat radio, GPRs, DVD, VCD etc Better efficiencies and effectively 59. Benefits cntd Single point control will result in a cohesive andplanned approach as against one man managing allapproach Control, consistency and better coordinationwith other team members Result in cost savings without compromising on thequality or deliverables, by eliminating wishfulspending Need and strategy driven rather than individual driven -objective Film will be treated like a BRAND rather than aproduct 60. Emerging Trends in Film Marketing Increased focus on packaging and marketing of filmsIncrease of global majors through Indian Subsidiaries oralliances Higher focus on return on capital and payback period Production of Niche Films Newer distribution/exhibition formats- Videoparlor, digital films, Cyber centers, mobile phones etc.Films for TV, Multiplexes, Cities, NRIs, Home viewingetc. 61. Trends cntd Films with tight schedule and tight budgets Timely completion To ensure profits [ not necessarily HUGE profits]win win model Each film will be a profit center, losses/profits willnot be carried forward or rationalizedIncrease in films production by Music companies,because of high cost of procurement of music, zerocontrol and unreliable delivery schedules Royalty/revenue sharing model as againstMG/fixed cost at all levels 62. Identify the Hooks Hooks are exploitable elements, aspects associatedwith the production that will attract those peoplewho comprise your audience profile. Hooks take many forms: a person, place, thingaction or idea. Many times, a film or videos title alone willfunction as the Marketing hook. Finding the right Hook means a mediocre film canbecome widely successful which attract the targetaudience. 63. Tips for Marketing & Promotion of Films Understand Your Target Audience When independently promoting a film or video, properlyidentifying your audience is a little difficult because youreally have three separate audiences, not just one. Theyare: Those who will watch the product (consumers viapurchase, rental or broadcast situations). Consider aviewers gender, age, education, income, religion, race,occupation and location. 64. Tips Cntd Those who will buy/sell the product (distributors,acquisition agents, sub distributors, video buyers).Each has different motivations and needs forproduct.Those who will promote the product (publicists,media, festival programmers). Their support is veryimportant in gaining industry access. 65. Analyze Your HooksA good selling point for your film or video orany other product for that matter is known as amarketing hook. Hooks are exploitable elements,aspects associated with the production that willattract those people who comprise your audienceprofile. Hooks take many forms a person, place, thing,action or idea. Many times, a film or videos titlealone will function as the marketing hook. Findingthe right hook means a mediocre film can becomewildly successful while a much more accomplished,yet hookless, project sits on a shelf. 66. Hooks Cntd The survival and success of most independent filmsand videos are predominantly dependent uponrealizing the proper hook to use in the promotionalcampaign. What is the single most-promotable element of yourfilm or video that will attract its target audience? 67. Create a Concise Logline Your movie or video project cannot be all things to allpeople. You should be able to define your film in one concisesentence, identifying its genre in the process while at thesame time conveying the basic storyline to the potentialviewer. This method of summarizing your entire film into ashort sketch is known as the logline. Consider yourfilms structure, genre, emotional pleas, characters,action and setting when writing a logline. 68. Logline cntd This logline will be used in most of your marketingefforts as a way to tell the story of your film. Ifyoure planning project for a very specified targetaudience (i.e., an urban or horror film) solicit thisgroup for input before you start using your logline. Its vital that the core viewer understands yourpromotional campaign, especially so if theyrepresent a small or limited number. 69. Utilize Free Media publicity.Much of what you read in magazines, hear on theradio, see on TV and surf on the Net is a product ofpublicity, or, more specifically, the product of mediaor press releases. You can create and/or report on news that is thendisseminated to the various media deemedappropriate for the subject. 70. Free pub cntd Information from situations surrounding theproduction of an independent film is assembled inwritten format, supported with photos, videotapefootage or samples and sent to the media in the formof a release. This kind of publicity should constitute the majorityof your promotional campaign. Except for the time needed to create theinformation, and any negligible costs involved postage, phone, paper, envelopes, videotape itsfree. 71. Stage a Publicity Stunt The purpose of a publicity stunt is to arouseinterest in both the public and the media in aunique way. Its usually not so much something you want toinvite these groups to witness (though thats not abad idea), but rather something you do that willcreate attention on its own account. Examine your film or video for elements that youcan exploit through a publicity stunt. 72. Stage cntd This is a very necessary tactic for self-distributorsbecause you do not have the budget available toadvertise your project through common means. An attention-getting publicity stunt is one involvingthe public the best scenario being bystanders in apublic area who have no idea what to expect. 73. Publicity Stunt Confrontational settings make for successfulpublicity stunts, and if your film or video features acontroversial topic, exploit it for all its worth. Try creating a human billboard for your film orvideo, staging appearances or costume contests atlocal video shops, making a float for any localparades and some kind of contest that creates bothconsumer interaction and visual interest. 74. Hold a PremiereA premiere is a great way to gather publicityfor your film While at the same time throwing a fun party for allinvolved. To make sure the night is successful,consider the following: Invite all local print and broadcast mediaentertainment editors and reviewers Stage a publicity event on the night of the premiere Hold the premiere in a place that is fitting for theproject. A bar is a good place for a party film,college auditorium for an edgy independent movie, local library screening room for an educational orchildrens-oriented video. 75. Premiere CntdSolicit smaller local broadcasters to simulcast the filmin conjunction with its screening.Have a celebrity or two on hand for the event such aslocal politicians, sports figures and other well-knownindividuals in your community. Salt the audience with a good number of friends andsupporters to ensure a Favourable response. Coach themon appropriate laugh, gasp and applause points.Offer copies of the video or DVD available forpurchase before and after the show.Distribute some small promotional item to everyoneattending. Arrive in a limo. Really, its worth theexpense. 76. Work with SponsorsApproach product manufacturers, service providers, restaurant and bar owners, media outlets and othercompanies to provide monetary, promotional orproduct/service sponsorship to facilitate the marketingof your film. Trade advertising space on your DVD sleeve inexchange for on-air commercials with a local cablechannel. Splice a 30-second ad on the front of your film with acompany that can provide you with printing, media orpromotional opportunities. 77. Sponsors cntd Think of situations that will allow you to reachlarger or more targeted audience groups, thenapproach companies that are already successfullyreaching these segments and work with them topiggyback on their efforts. 78. Enter Appropriate Film FestivalsOriginally designed as a forum to present new and original independent films to a more art- minded audience, film festivals have now become sales markets and publicity stops for most every kind of movie aimed at the general public. Showcasing shorts, features, experimental, 8mm, digital video, animation, adult, documentary, music and even Pixelvision movies, there really is a festival for everyone. But it is important to enter only those festivals that will provide some benefit to your promotional efforts. 79. Answer the following to decide which isbest for your specific film: How much will the film festival cost you in time,money and opportunity?How will the timing affect your promotional plan?How worthwhile is the festival?What kind of contacts and exposure will resultfrom your participation?Is there a cash, product or distribution prize?How is the market aspect of the festival? 80. Solicit Reviews With the ever-increasing number of media outletsoperating on the planet, finding a source forreviews isnt too tough. A quick glance through any publication, or a flipthrough the channels will uncover any number ofrevieworiented articles and programming. And, almost every single film and videoadvertisement print or broadcast features reviewquotes as part of its marketing message. Using reviews in this manner offers promoters asimple, cheap and effective way to influence anaudience. 81. Solicit cntd An objective, third-party endorsement of yourproject is always more convincing than saying thesame things yourself. Thus the popular habit ofplacing review quotes on film and videopackaging. And, reviews dont always have tocome from entertainment-theme publications orwriters. A review from a product manufacturer, serviceprovider, non-Hollywood celebrity and othershave just as much oomph if applicable to yourfilm. For example, a review from a well-knownsurfboard designer for beach-theme flick is apretty good idea. 82. Use the Internet The benefits of using the Internet as a promotionalmedium are so numerous low-cost, instant access, ease-of-use, non-invasive, constantly availableits hard toknow where to start. One thing is certain, however, the Internet should not simplybe considered during the post-production promotionalphase, but also implemented as early in the process ofmaking your film or video as possible. This kind of proactive publicity can lead tofinancing, crews, media coverage, even distributiondeals, and the best part, its really pretty cheap. Be sure your web site looks professional, is technologicallysound and features an easy-to-find contact area. 83. What the Industry person Speeks? Now lets have a discussion on what the industryGiants says about the new Marketing Trends in FilmIndustry 84. UTV Motion Picture:Marketing Head, Siddharth Kapur, added another point here.He said, "Spends in past campaigns would tend to be solely from the producer/ distributors pocket, without the benefit of brand tie-ups to take the buzz on the film to new levels.The trend of brands associating with movies on co- branding and promotions is a relatively recent one. 85. On both Rang De basanti and Taxi No 9211, theyhad a substantial marketing budget, which wasstrongly supplemented by our promotionalpartners, thereby enabling these films to generate atremendous level of awareness through innovativeand brand-relevant communication across multiplemediums." 86. Yashraj Production: They had another point toponder upon."In the last five years,non-traditional media houses have opened up. But thefact that a producer can spend more doesnt reallymean that he has to. When you say, you have spentso many crores, it isnt really something to be proudof. What really matters is how we spend themoney," 87. Mukta Arts A point : "Marketing surely has to translate into driving morepeople to the theatre on that first critical weekend. Today, with the change in speed of operations, amajor campaign can be launched in a matter ofdays, but in such a situation, factors from the abilityof differentiate your radio message from the TV tothe spread of your costs and what media you buy all becomes critical". 88. Is the phenomenon of Marketing and High Budget inAdvertising is seen only in the big banners or is itseen across the Indian film industry? The Indian film industry has definitely woken up to the importance of marketing in driving the business, however, it is still looked at by many as an additional expense rather than an investment like the cost of production. In the case of Rang De Basanti, where the total marketing budget including all brand associations, was close to 40 per cent of the overall cost. It is only when this investment versus expense mindset is established that we can say that movie marketing has really arrived. 89. Lesson 1: Research the competition Competitor research does not have to be thought of asguerrilla warfare. In Film industries, competitors worktogether by partnering, cross promoting, sending businessto each other, or even manufacturing each othersprojects. 90. Lesson 2: Know your customers values Understand that price is not the only important factor forthe targeted market. Based on experience and customerresearch, they recognized that other concerns besidesprice played a part when the story and themeline Speaks. While price is almost certainly a consideration for yourcustomers, dont get caught in the mentality thatcustomers will buy from you only if you have the lowestcost. If you think of your own service/product as abundle of attributes having a unique value for yourcustomers, you will be more successful. 91. Lesson 3: Identify opportunitiesCharlie and Phil uncovered an unmet need in the market bycombining their competitor research and knowledge ofcustomer values. You can do the same when looking todevelop new products/services or improve existing ones. 92. Lesson 4: Develop a positioning based on opportunityUsing knowledge from the first three lessons, theypositioned themselves as the quality alternative andfocused on providing different benefits than their nearestcompetitor. In the movie, Daddy Daycare stole all thecompetitors customers and drove her out of business. In real life, customers choose a product/service that bestfits their needs. Consequently, competitors can co-existwhen each are valuable in different ways to industrycustomers. 93. Lesson 5: Create a catchy tag line The tag line Whos your Daddy? helpedadvertise the new business. Often, a concise,catchy tag line can go a long way in building brandequity, communicating benefits and features,and/or conveying a feeling/mentality your targetcustomers can relate to. Some examples: Just do it. (Nike) Life Unscripted (TLC) Naturally sweetened whole grain oat cereal withreal berries. (Berry Burst Cheerios) Makes anything possible. (Craftsman) 94. Lesson 6: Spread the Word Phil and Charlie put their tag line on t-shirts along withtheir business name. They also printed and distributedflyers that explained their new companys positioning.A few more ideas you can use to spread the word aboutyour business: Word of mouth give customers an incentive to tellpeople about your business. Advertising use both online and offline methods.Online options include pay-per-click search enginesand ezine advertisements. Offline methods includeradio spots and newspaper advertisements. Philanthropy donate money, services, and/or time tonon-profit organizations or conduct your own event. 95. Lesson 7: Be ethical and above-boardThe new business owners cooperated fully with thedaycare inspector. They treated him as a source ofinformation rather than Big Brother. This resulted innot only a better business, but also a valuable ally. Inthe long run, your own company will be more likely tothrive if you concentrate on improving the businessrather than dodging regulations. Lesson 7A: Subterfuge is a poor long-term strategyBesides being unethical, subterfuge soils yourreputation. In the movie, the competing daycarecrashed and ruined a fundraiser eventspilling bugs,freeing animals, and drenching visitors. Short-term, itworked. Phil and Charlie were broke, seemingly with 96. Lesson 8: Implement until youre blue in the face In the beginning, the new Daddy Daycare was a completedisaster. Charlie and Phil did their homework and knewthey had a good idea. When reality hit theory, however, afew not-so-minor details got in the way. Like allsuccessful marketers, they worked out the kinks(okaydisasters) and kept trying (and trying, andtrying)until they got it right. Keep the Daddy Daycare lessons in mind whendeveloping and implementing your own marketing plan.Dont give up, strive to continually improve, and yourebusiness is sure to be a success. 97. To Conclude,Consuming film can alter mood, change perspective, irritate and annoy us, but we are never exactly the same having consumed a film.