Bridget Jones Baby marketing

I'll add to this - your own photos etc would be very welcome

This post builds on an earlier post, which itself is long and detailed, looking at the international nature of the campaign and the trailers especially, but also looking back at the scale of this franchise - so lets start there.

The latest movie is at $180m worldwide - a good return, but well down on past entries. There should be a 4th based on those numbers. See my post on the Gant Rule (with BJB as an exception) for more details - such as this, the only territories with 8-figure returns:

• Australia $13m
• France $14m
• US $24m
• UK $60m

The basic: Premieres
This generates TV news and wider media stories (eg Mirror):

WARP v WORKING TITLE WEB 2.0 comparing social media

Through various case studies I've noted a key difference between the two companies in how their social media operates: scale.

In theory, web 2.0 creates a potential level playing field for Indie minnow and (conglomerate subsidiary) mini-studio alike ... but it still takes skilled, paid operators to create and update content, and respond to user comments/posts ... not to mention doing so in multiple languages (Paul and Les Miserables are just two WT examples which had Facebook accounts in multiple languages; you have to look to the truly weird L for a Warp example: essentially a Greek film, its no surprise to find a Greek language presence!).

Although we do see some very smart content (the Le Donk Xmas card) on some Warp sites, the considerable investment that WT make (encroaching on traditional distributor territory in doing so) on content rich websites stands out: the huge interactive Tinker, Tailor... online/offline game, Hot Fuzz Pacman, Shaun of the Dead Space Invaders... even the Smokin' Aces comic book.

Three basic points:

1. These combined materials are a vast learning resource freely available to you - the YouTube uploads especially
2. Warp's shift towards TV (think convergence) is evident based on my sampling today (Feb 14th 2016), with This is England 90 and The Last Panthers most prominent
3. As I note above, the lack of investment from Warp in maintaining these sites is also clear, with nobody updating the YouTube description for example for at least 6 months!

WARP
THIS BLOG TAG
WIKI 
IMDB (no separate TV division)
IMDB Warp Films US (limited brand)
IMDB Warp X
IMDB Warp Films Australia
THE-NUMBERS.COM
WEBSITE
YOUTUBE
TWITTER
INSTAGRAM
FACEBOOK 
WARP FILMS 10 (a dead link - they can't afford to maintain hosting fees?!)
TUMBLR (actually Warp Records, no separate Films site, another sign of limited funds; sample: '71 post)
TUMBLR TAG: warp films (plenty of UGC, and links from other companies, such as Australia's Madman Films (Snowtown, Shopping, Partisan all with Warp).

NEWS SITES
VARIETY Leading Hollywood trade magazine.
BFI (Google search) - see their review of 10 key Warp releases.

WORKING TITLE
THIS BLOG TAG
WIKI 
IMDB
IMDB WT2
IMDB WTTV 
IMDB WT AUSTRALIA
THE-NUMBERS.COM
WEBSITE
YOUTUBE
TWITTER
INSTAGRAM
FACEBOOK
TUMBLR - no official page, but tagged a lot (including Working Title Korea) 

BFI 
VARIETY (also a simple search, brings up different results) 


COMPARING WARP/WT FOLLOWER NUMBERS:
Twitter Warp 30k v WT 8k
Facebook Warp 50k v WT 24k
YouTube Warp 666 v WT 388
Instagram Warp 4k v WT 4k
Tumblr numbers not shown
TOTALS: Warp 85k v WT 36k
BUT ... on YouTube views: Warp 159k v WT 466k (on a new channel, launched 2013, replacing previous channels)


WARP
THIS BLOG TAG
WIKI 

IMDB (no separate TV division)

The shift towards TV is clear

IMDB Warp Films US (limited brand)

IMDB Warp X

IMDB Warp Films Australia

THE-NUMBERS.COM

Notably this site only picks up on FOUR Warp films! An indication of their lack of US success (though the likes of TisEng are missing)

WEBSITE

Four social media outlets listed/linked.

Click on the 'read more' link for further screenshots, links and analysis