MCN Blogs
Ray Pride

By Ray Pride

Coffee Bees: Starbucks' promo deal with Akeelah

A sweet sleeve job: Starbucks cuts itself into the movie biz with its promo reach. With the Lionsgate release of Akeelah and the Bee, reports Newsweek’s Johnnie L. Roberts, the caffeinator’s 8,300 North America stores prompt viewers to purchase elsewhere:sdfj867-.jpg “Starbucks is promoting Akeelah to its millions of [customers as it’s] touted on the sleeves slipped onto the Starbucks cups (it sells 4 million beverages daily), emblazoned with obscure words like “shalloon,” a lightweight wool fabric used for coat linings. Coasters are used to promote the movie, too, and a display table at the Starbucks in South Orange, N.J., recently was stacked high with travel Scrabble sets…. .Last Friday the chain began a countdown to Akeelah‘s opening date, April 28, on the ubiquitous chalkboards that spell out the day’s coffee blends. Starbucks has no plans to pour bucks into making films, limiting its involvement to promoting the movie (and taking a cut of the profits in return) and selling DVDs.”

Comments are closed.

Movie City Indie

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch