A Quote by Tim Bevan
There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.
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When it comes to fully understanding how to strategically move all the pieces on the marketing and distribution chess board on a worldwide basis, Jeff Blake is always thinking two moves ahead and that gives Sony a true competitive edge. He is the studio's secret weapon and while he would be the first to credit his fantastic sales and marketing team, there are few executives here that deserve more credit for our successes during the past several years than Jeff.
With so much money invested in their most promising projects, Hollywood executives will understandably do everything in their power to make their products a success in the marketplace. Therefore, the most expensive films often also get the highest marketing budgets, and are slotted into the most favorable opening weekends.
In most cases, I think most executive producers and studio executives really do their best to accommodate you. At least, that's been my experience in most cases.
In another time, another world, each studio made 200 movies a year and had 20 executives. Today, a studio makes less than 20 movies a year and has 500 executives. They own too many parking decks and too many billboard companies. They're awash in overhead, and it's pinning them down, and they know it.
At this moment in history, millions of 'working dads' are desiring to do what they do not feel they have the right to do: be more devoted as a dad, less devoted as a worker. This feeling is far more ubiquitous among men executives than women executives in many areas of the world because, for instance, Asia-Pacific women executives today are more than six times as likely to not have children than men executives are. The Asia-Pacific executive man is about six times as likely to be a working dad as an executive woman is to be a working mom.
What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.
Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
Hollywood studio executives don't recognize the value of female performers as much as male performers.
Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.
Content marketing is more than a buzzword. It is the hottest trend in marketing because it is the biggest gap between what buyers want and brands produce.
I suspect that a lot of studio executives still think of me as 'what's-his-name'.
If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.
If you think of movie studio executives, say, as society, then I root for the independent producers.
Not only does Hollywood make money - it seems to make better movies during recessions. I'm sure a lot of studio executives wish we could have one every year.
I found marketing to be highly descriptive and prescriptive, without much of a foundation in deep research. I brought in economics, organization theory, mathematics, and social psychology in my first edition of Marketing Management in 1967. Today Marketing Management is in its 15th edition and remains the world's leading textbook on marketing in MBA programs. Subsequently, I wrote two more textbooks, Principles of Marketing and Marketing: an Introduction.
Hollywood changed to become a more marketing-driven Hollywood, where people who are running the studios are more like marketing people, and they need titles.
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